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JT (287 KP) rated Dredd (2012) in Movies
Mar 10, 2020
From the opening slow motion bullet to the face and exit wound that leaves a spray of deep red across the screen, it’s clear to see that this Dredd reboot is all about eradicating the memory of Stallone. It also does its best to stay true to the graphic novels in which this Judge Dredd leaves his helmet on for the entirety.
Karl Urban steps into the boots for this outing and complete with grizzled voice that echoes of Clint Eastwood’s Dirty Harry he goes up against female villain Ma-Ma (Headey) who is as nasty as she is ruthless.
Mega City one, set on the East Coast and running from Boston to Washington DC is the Judges stomping ground and its being overrun by a new drug called SLO-MO in which users experience reality at a fraction of the speed. When a routine homicide leads Dredd and rookie Judge Cassandra Anderson (Thirlby) to The Peach Trees, a 200-storey slum tower block (wait, another tower block?), they must fight their way through the scum to get to the top and bring down the prostitute turned drug lord.
The film is certainly grittier and bloodier than its almost comic predecessor, and director Travis does not shy away from this.
An early encounter in which Dredd and Anderson infiltrate a drug house is slowed right down, maybe in some way to mirror the feeling the SLO-MO drug has on its users. Bullets and blood fly as the casualties and body count rise significantly, Dredd quips the occasional one liner with deadpan expression “negotiation’s over. Sentence is death.”
Those that saw The Raid would have been mesmerized by the action which was none stop from start to finish, sadly Dredd doesn’t live up to those high expectations but does its best to stay with mainstream carnage, of which there is plenty to satisfy.
It’s all about the facial expression
Thirlby’s psychic abilities prove useful but almost disappointing that she can second guess her opponents, a mutant, she’d probably fit in well with the X-Men. She’s the sense of reason to Dredd’s brute force, although most of the time he’s right in what he does, after all he is the law. The film is stripped back, humour is used when needed, and the action set pieces are exceptional. Urban a long time supporting actor now gets a chance to be front and centre in a franchise that can really go places.
Karl Urban steps into the boots for this outing and complete with grizzled voice that echoes of Clint Eastwood’s Dirty Harry he goes up against female villain Ma-Ma (Headey) who is as nasty as she is ruthless.
Mega City one, set on the East Coast and running from Boston to Washington DC is the Judges stomping ground and its being overrun by a new drug called SLO-MO in which users experience reality at a fraction of the speed. When a routine homicide leads Dredd and rookie Judge Cassandra Anderson (Thirlby) to The Peach Trees, a 200-storey slum tower block (wait, another tower block?), they must fight their way through the scum to get to the top and bring down the prostitute turned drug lord.
The film is certainly grittier and bloodier than its almost comic predecessor, and director Travis does not shy away from this.
An early encounter in which Dredd and Anderson infiltrate a drug house is slowed right down, maybe in some way to mirror the feeling the SLO-MO drug has on its users. Bullets and blood fly as the casualties and body count rise significantly, Dredd quips the occasional one liner with deadpan expression “negotiation’s over. Sentence is death.”
Those that saw The Raid would have been mesmerized by the action which was none stop from start to finish, sadly Dredd doesn’t live up to those high expectations but does its best to stay with mainstream carnage, of which there is plenty to satisfy.
It’s all about the facial expression
Thirlby’s psychic abilities prove useful but almost disappointing that she can second guess her opponents, a mutant, she’d probably fit in well with the X-Men. She’s the sense of reason to Dredd’s brute force, although most of the time he’s right in what he does, after all he is the law. The film is stripped back, humour is used when needed, and the action set pieces are exceptional. Urban a long time supporting actor now gets a chance to be front and centre in a franchise that can really go places.
Ryan Hill (152 KP) rated Thor: Ragnarok (2017) in Movies
May 11, 2019
The humour
Chris Hemsworth as Thor
Tom Hiddleston as Loki
Mark Ruffalo as Bruce Banner/The Hulk
Taika Waititi as Korg
Cate Blanchett as Hela
Jeff Goldblum's Grandmaster is a God send (1 more)
Tessa Thompson as Valkiyrie
The Action was awesome specifically Hulk vs Thor and the final bridge battle
The synth score
"Piss off Ghost"
Perhaps, the most entertaining and enjoyable movie in the MCU since Iron Man?
There’s so many reasons why I enjoy Thor: Ragnarok, but it has to start with the direction and vision of Taika Waititi. He’s a genre changer in the comic book man movie universe. From his Kiwi sense of humor, to the choice in mood music, to the simply fun action sequences; Thor: Ragnarok is a two hour smile that would make it appear I had Botox injections, since my facial expression stayed happy.
Thor is one of my favorite characters in the MCU and I like the way the fat has been chewed off in his movies. Less memorable characters are disposed of, and screen time is given to the characters you want to see. Jeff Goldblum’s Grandmaster is a gift from God. Loki is Loki and who doesn’t love Loki? Tessa Thompson’s Valkyrie has a lot of depth. Cate Blanchett’s Hela might be in the top 5 in baddest of bad MCU villains, and puts the D in dysfunctional families. Plus, Idris Elba’s Heimdall deserved his own movie, and perhaps the number one scene stealer, and one of the reasons why this movie is truly special is Taika Waititi’s Korg. Who knew a CGI rock could be so hilarious? His voice is infectious, and I want to see more of Korg.
Hulk and Banner are both used just right. The synth-pop score makes me want to dance a boogie groove. Thor’s flaw is there’s too many interesting storylines, which causes the film to jump some from character to character. Watching Chris Hemsworth ham it up as Thor is what these types of movies should be all about. Putting the F back in fun and having a helluva time in the process doing so.
There’s so many reasons why I enjoy Thor: Ragnarok, but it has to start with the direction and vision of Taika Waititi. He’s a genre changer in the comic book man movie universe. From his Kiwi sense of humor, to the choice in mood music, to the simply fun action sequences; Thor: Ragnarok is a two hour smile that would make it appear I had Botox injections, since my facial expression stayed happy.
Thor is one of my favorite characters in the MCU and I like the way the fat has been chewed off in his movies. Less memorable characters are disposed of, and screen time is given to the characters you want to see. Jeff Goldblum’s Grandmaster is a gift from God. Loki is Loki and who doesn’t love Loki? Tessa Thompson’s Valkyrie has a lot of depth. Cate Blanchett’s Hela might be in the top 5 in baddest of bad MCU villains, and puts the D in dysfunctional families. Plus, Idris Elba’s Heimdall deserved his own movie, and perhaps the number one scene stealer, and one of the reasons why this movie is truly special is Taika Waititi’s Korg. Who knew a CGI rock could be so hilarious? His voice is infectious, and I want to see more of Korg.
Hulk and Banner are both used just right. The synth-pop score makes me want to dance a boogie groove. Thor’s flaw is there’s too many interesting storylines, which causes the film to jump some from character to character. Watching Chris Hemsworth ham it up as Thor is what these types of movies should be all about. Putting the F back in fun and having a helluva time in the process doing so.
Never meet your heroes is the succinct tag line of this Amazon original series, dealing with the notion that all superheroes are morally good… but what if they weren’t…?
Filmed in Canada, and starring New Zealand actors Karl Urban and American Gothic’s Antony Starr, this violent and very adult take on the costumed hero mythology is enough removed from standard American sensibilities to allow it to explore itself boldly and largely uncensored. It is definitely not a show for kids!
From the opening scenes it is evident that The Boys is not afraid to use gallons of blood and gore, nudity and colourful language to emphasise its point of a world corrupt, corporate and cruel, where the falacy of the powerful being there to protect you is shown up as pure money-spinning political and media manipulation.
We follow Jack Quaid’s naive victim Hughie Cambell, as he comes to realise the true nature of the self-centred and entirely flawed “heroes” that make up The Seven – an elite collection of super-powered “freaks”, led by Starr’s superbly vain and ego-maniachal Homelander; yet ultimately controlled by the Vought corporation and its unethical CEO Madelyn Stillwell, played with nervy relish by Elizabeth Shue.
There is Translucent, who can turn his skin invisible, but has to be naked to do so, and uses it largely to lurk in women’s bathrooms… The Deep, who can speak to sea creatures, but manifests a poisonous macho air, driven by massive insecurity… and A-Train, the world’s fastest man, who is a self-serving junkie with big issues.
Into the mix comes, the newest member of The Seven, Erin Moriaty, as Annie January, aka Starlight. Who may or may not have what it takes to join the ranks of well publicised fame, if she can turn a blind eye to the sinister workings of Vought and fit in.
Meanwhile, Hughie, looking for justice and perhaps revenge, meets Will Butcher (Urban), a man with a shady past, a terrible London accent (hilariously brought to attention whenever possible), and a reason to despise and hunt The Seven to extinction. The narrative progresses through this hunt, and the revelation of many secrets, into a cat and mouse game between the powerful “heroes” and the mere mortals determined to stop them.
Arch humour presides; nothing is handled with any sense of realism, favouring spectacle over believability. The tongue is firmly in cheek throughout, and the fun comes from the inventive ways the “Supes” use and misuse their powers, versus the resourcefulness of the essentially powerless methods employed by The Boys to chase them down and bring them to justice.
There are moments when the idea overshadows the actual script, for sure. Other times when the density of characters becomes confusing and unfocused. Without spoilers, it does all go in some very interesting directions, and by the end of episode 8 and the season finale it reaches a point suggesting a tactic many new shows seem to favour. Namely, to leaves things open enough, and on a cliff edge enough, to lead it anywhere it wants to go in a second series.
I have to admit, I wasn’t always comfortable with the tone of it… but, perhaps, that is the point. I did, however, find it very entertaining, fascinatingly post-modern and allegorical. As with many of the “Supes” it could have the ability to fly… but isn’t quite there yet!
Filmed in Canada, and starring New Zealand actors Karl Urban and American Gothic’s Antony Starr, this violent and very adult take on the costumed hero mythology is enough removed from standard American sensibilities to allow it to explore itself boldly and largely uncensored. It is definitely not a show for kids!
From the opening scenes it is evident that The Boys is not afraid to use gallons of blood and gore, nudity and colourful language to emphasise its point of a world corrupt, corporate and cruel, where the falacy of the powerful being there to protect you is shown up as pure money-spinning political and media manipulation.
We follow Jack Quaid’s naive victim Hughie Cambell, as he comes to realise the true nature of the self-centred and entirely flawed “heroes” that make up The Seven – an elite collection of super-powered “freaks”, led by Starr’s superbly vain and ego-maniachal Homelander; yet ultimately controlled by the Vought corporation and its unethical CEO Madelyn Stillwell, played with nervy relish by Elizabeth Shue.
There is Translucent, who can turn his skin invisible, but has to be naked to do so, and uses it largely to lurk in women’s bathrooms… The Deep, who can speak to sea creatures, but manifests a poisonous macho air, driven by massive insecurity… and A-Train, the world’s fastest man, who is a self-serving junkie with big issues.
Into the mix comes, the newest member of The Seven, Erin Moriaty, as Annie January, aka Starlight. Who may or may not have what it takes to join the ranks of well publicised fame, if she can turn a blind eye to the sinister workings of Vought and fit in.
Meanwhile, Hughie, looking for justice and perhaps revenge, meets Will Butcher (Urban), a man with a shady past, a terrible London accent (hilariously brought to attention whenever possible), and a reason to despise and hunt The Seven to extinction. The narrative progresses through this hunt, and the revelation of many secrets, into a cat and mouse game between the powerful “heroes” and the mere mortals determined to stop them.
Arch humour presides; nothing is handled with any sense of realism, favouring spectacle over believability. The tongue is firmly in cheek throughout, and the fun comes from the inventive ways the “Supes” use and misuse their powers, versus the resourcefulness of the essentially powerless methods employed by The Boys to chase them down and bring them to justice.
There are moments when the idea overshadows the actual script, for sure. Other times when the density of characters becomes confusing and unfocused. Without spoilers, it does all go in some very interesting directions, and by the end of episode 8 and the season finale it reaches a point suggesting a tactic many new shows seem to favour. Namely, to leaves things open enough, and on a cliff edge enough, to lead it anywhere it wants to go in a second series.
I have to admit, I wasn’t always comfortable with the tone of it… but, perhaps, that is the point. I did, however, find it very entertaining, fascinatingly post-modern and allegorical. As with many of the “Supes” it could have the ability to fly… but isn’t quite there yet!
LeftSideCut (3778 KP) rated Dredd (2012) in Movies
Jan 25, 2021
I grew up reading 2000AD and like many others, was disappointed in the Stallone effort to bring Judge Dredd to the big screen. Fast forward to 2012, and Dredd shows us that the way forward is a simple one. There's no need to go all out with a Mega City One wide story. The narrative is Dredd assessing Anderson on her first proper day of duty, locked down in a singular Megabuilding. Taking the template of Die Hard and applying it to Judge Dredd characters is wonderfully straightforward, and this movie is more spectacular for it.
We're told all the background we need to know within the first ten minutes before shit hits the fan and allows the rest of the films 80 or so minutes to give us one big set piece, as Dredd and Anderson make their way up the building to get to antagonist and drug peddling criminal, Ma-Ma.
Karl Urban is picture perfect in the titular role. His helmet wisely stays on for the duration, and he manages to keep up Dredd's signature grimace from start to finish, without it looking silly.
Olivia Thirlby is great as Anderson, and provides most of the movies more emotion charged moments that Dredd himself can't. The scene where she makes a vile gangster literally piss himself with her mind-exploring powers is a highlight of badass-ery.
Lena Headey plays the villanous Ma-Ma, and although she doesn't get a huge amount of screentime, she carves a lasting impression on proceedings as a truly nasty piece of work.
The films macguffin like Slow-Mo drug gives director Pete Travis an excuse to pack in some typical slow motion shots, but thankfully doesn't overdo it, and when it's used, provides us with some stylish and colourful action that breaks up the otherwise bleak aesthetic that comes hand in hand with the Mega City setting. This is of course is all complimented with some well done hard R violence which is simply a requirement when dealing with 2000AD material!
I personally feel that Dredd is the Judge Dredd film that we deserve. It ticks all the right boxes and doesn't feel over serious, even though it has next to no humour. Its a damn shame that it didn't earn the desired box office numbers because a sequel would have been just lovely.
We're told all the background we need to know within the first ten minutes before shit hits the fan and allows the rest of the films 80 or so minutes to give us one big set piece, as Dredd and Anderson make their way up the building to get to antagonist and drug peddling criminal, Ma-Ma.
Karl Urban is picture perfect in the titular role. His helmet wisely stays on for the duration, and he manages to keep up Dredd's signature grimace from start to finish, without it looking silly.
Olivia Thirlby is great as Anderson, and provides most of the movies more emotion charged moments that Dredd himself can't. The scene where she makes a vile gangster literally piss himself with her mind-exploring powers is a highlight of badass-ery.
Lena Headey plays the villanous Ma-Ma, and although she doesn't get a huge amount of screentime, she carves a lasting impression on proceedings as a truly nasty piece of work.
The films macguffin like Slow-Mo drug gives director Pete Travis an excuse to pack in some typical slow motion shots, but thankfully doesn't overdo it, and when it's used, provides us with some stylish and colourful action that breaks up the otherwise bleak aesthetic that comes hand in hand with the Mega City setting. This is of course is all complimented with some well done hard R violence which is simply a requirement when dealing with 2000AD material!
I personally feel that Dredd is the Judge Dredd film that we deserve. It ticks all the right boxes and doesn't feel over serious, even though it has next to no humour. Its a damn shame that it didn't earn the desired box office numbers because a sequel would have been just lovely.
Bob Mann (459 KP) rated Star Trek (2009) in Movies
Sep 28, 2021
As Leonard Nimoy says on the “making of” featurette, few directors can successfully deliver both ‘action’ and ’emotion’ in the same film, but J.J. Abrams can do. You can tell that he loved the original series, and adds both energy and ‘fan-friendly’ easter eggs into the movie:
We saw Kirk’s death in “Generations” – here we see his birth, with a pre-Thor Chris Hemsworth as his heroic Dad!;
The nasty Ceti Eel creatures are back from “The Wrath of Khan”!;
We see the historic event of Kirk beating the Kobayashi Maru starfleet test;
And we see all of the key characters meeting for the first time.
There are some surprises though. The fact that Spock and Uhuru are ‘a thing’ adds a spice to the film that feels like it messes with existing Trek lore. And similarly the destruction of Vulcan – giving this the highest body count of any of the movies! – has to be explained away with the old ‘parallel timeline’ ploy.
The action scenes work well, reliving the ‘submarine warfare in space’ elements that worked so well in the original series and the “Wrath of Khan”. A ‘space drop’ onto Nero’s ‘drill’ is particularly thrilling.
The casting is just about bang on, with Chris Pine pitch perfect as Kirk and Karl Urban particularly impressive as ‘Bones’ McCoy (although the evolution of the nickname – shown here – feels overly forced). The one character that I don’t get on with here is Simon Pegg’s Scotty: might be controversial, but he just doesn’t work for me.
Finally, the music by Michael Giacchino is a favourite score of mine. Simply thrilling and brilliant. I was lucky enough to hear it played live at a showing in the Royal Albert Hall a few years back, where both Giacchino and Abrams appeared on stage – – a truly memorable evening.
It’s not perfect. The whole “transportation of Scotty into the water works” irritates me enormously for some reason. And it’s somewhat glossed over what Nero and his crew have been doing for the 25 years while Kirk grows up: (Nero: “Man, I’ve finished ALL of my Sodoku books… when is this lockdown EVER GONNA END??”). And the JJ ‘lens flare’ is used to a level here that is mind-blowingly distracting! But as a reboot, in the main, it works.
We saw Kirk’s death in “Generations” – here we see his birth, with a pre-Thor Chris Hemsworth as his heroic Dad!;
The nasty Ceti Eel creatures are back from “The Wrath of Khan”!;
We see the historic event of Kirk beating the Kobayashi Maru starfleet test;
And we see all of the key characters meeting for the first time.
There are some surprises though. The fact that Spock and Uhuru are ‘a thing’ adds a spice to the film that feels like it messes with existing Trek lore. And similarly the destruction of Vulcan – giving this the highest body count of any of the movies! – has to be explained away with the old ‘parallel timeline’ ploy.
The action scenes work well, reliving the ‘submarine warfare in space’ elements that worked so well in the original series and the “Wrath of Khan”. A ‘space drop’ onto Nero’s ‘drill’ is particularly thrilling.
The casting is just about bang on, with Chris Pine pitch perfect as Kirk and Karl Urban particularly impressive as ‘Bones’ McCoy (although the evolution of the nickname – shown here – feels overly forced). The one character that I don’t get on with here is Simon Pegg’s Scotty: might be controversial, but he just doesn’t work for me.
Finally, the music by Michael Giacchino is a favourite score of mine. Simply thrilling and brilliant. I was lucky enough to hear it played live at a showing in the Royal Albert Hall a few years back, where both Giacchino and Abrams appeared on stage – – a truly memorable evening.
It’s not perfect. The whole “transportation of Scotty into the water works” irritates me enormously for some reason. And it’s somewhat glossed over what Nero and his crew have been doing for the 25 years while Kirk grows up: (Nero: “Man, I’ve finished ALL of my Sodoku books… when is this lockdown EVER GONNA END??”). And the JJ ‘lens flare’ is used to a level here that is mind-blowingly distracting! But as a reboot, in the main, it works.
Chris Sawin (602 KP) rated Star Trek (2009) in Movies
Jun 22, 2019
Just about everybody knows the stories revolving around the U.S.S. Enterprise and it's crew lead by Captain James Tiberius Kirk. This reboot is an alternate reality to what happened in those familiar stories chronicling the early days of how the crew came together, went through the ranks of star fleet, and basically became the characters every Trekkie knows and loves today. The only issues this movie may have had was if it would appeal to people who weren't fans of the original Star Trek and if it would be enjoyable to those people. Considering it was the number one movie in the country in its opening weekend, brought in another $43 million its second weekend in theaters (bringing its grand total to over $147 million), and has glowing reviews on both IMDb (8.5/10, over 50,000 votes, #71 in the top 250 movies) and Rotten Tomatoes (95% fresh, 245 fresh reviews, rated 8.1/10), the answer seems obvious.
Star Trek exceeded all of my expectations. I'm not a Trekkie, but this is the movie that should have kicked off the summer season. The film is somehow capable of keeping the same essence of the original series yet inject a breath of fresh air into the franchise with new faces representing familiar characters. The film really appears to a wide range of moviegoers since it has just about everything anyone is looking for when they go to the movies and affectively blends action, comedy, sci-fi, and romance into one sensational adventure. The cast is truly superb. Karl Urban practically channeled DeForest Kelley in his portrayal of Dr. Leonard "Bones" McCoy and Simon Pegg as Scotty stole every scene he was in. Zachary Quinto fit the young Spock character like a glove. I could go on and on. There really wasn't a poor performance from anyone.
The only minor complaint I have about the film was the lens flare effect they seemed to use throughout the film. It was hardly noticeable at times, but I remember it being a bit irritating towards the last half of the film. Other than that, I'd like to see more of Scotty in the sequel. But that's more of a suggestion than anything.
Star Trek is a fun and exciting film that's really for everyone. The film is a little over two hours long, but it feels much shorter. Go ahead and group this with Batman Begins as one of the successful reboots that's also incredibly enjoyable.
Star Trek exceeded all of my expectations. I'm not a Trekkie, but this is the movie that should have kicked off the summer season. The film is somehow capable of keeping the same essence of the original series yet inject a breath of fresh air into the franchise with new faces representing familiar characters. The film really appears to a wide range of moviegoers since it has just about everything anyone is looking for when they go to the movies and affectively blends action, comedy, sci-fi, and romance into one sensational adventure. The cast is truly superb. Karl Urban practically channeled DeForest Kelley in his portrayal of Dr. Leonard "Bones" McCoy and Simon Pegg as Scotty stole every scene he was in. Zachary Quinto fit the young Spock character like a glove. I could go on and on. There really wasn't a poor performance from anyone.
The only minor complaint I have about the film was the lens flare effect they seemed to use throughout the film. It was hardly noticeable at times, but I remember it being a bit irritating towards the last half of the film. Other than that, I'd like to see more of Scotty in the sequel. But that's more of a suggestion than anything.
Star Trek is a fun and exciting film that's really for everyone. The film is a little over two hours long, but it feels much shorter. Go ahead and group this with Batman Begins as one of the successful reboots that's also incredibly enjoyable.
Gareth von Kallenbach (965 KP) rated Doom (2005) in Movies
Aug 14, 2019
In a remote section of Mars, something has gone horribly wrong for the scientists of the Union Aerospace Corporation’s research facility. Scientists run screaming for their lives from a deadly threat. Trapped on a barren world against forces unknown, the call goes out for an elite team of specialists to contain the situation, and neutralize the threat at any cost.
In the new game to film adaptation Doom which is based on the phenomenally popular game series of the same name, International Action Star The Rock stars as Sarge, a by the book, no nonsense leader Of a rapid response team who have been tasked with quelling the situation on Mars. His #2 is John (Reaper) Grimm (Karl Urban), the son of two scientists who were killed years earlier in a move that drove John from the Red Planet and into the corps.
Unsure about where his head is Sarge suggests John take leave and skip the mission less he provide an unstable factor. Driven by his concern for his sister on the planet, and his devotion to duty, John accompanies his team to Mars via a teleportation device know as the Arc.
In no time the team has arrived and begun sweeping the affected areas of the base, and working to ensure that nothing can return to Earth without permission. As the team surveys the dark and isolated lab areas, John is also reunited with his sister Sam (Rosamund Pike), which brings up the memories of their dead parents and repressed hostility over his departure and emotional distance.
Of course this is a movie based on monsters and violence, so in no time, there are some strange things lurking in the darkened corridors of the lab and the team finds themselves locked in a series of deadly confrontations against enemies of unimaginable horror.
In short order the team is picked off by the deadly opposition which causes strain amongst the survivors, as it becomes clear that the work being conducted at the base was far from the simple excavations that they had been claiming for years. The truth is far more dangerous and soon has the very safety of Earth in the balance.
The changing dynamic soon divides Sarge and John and they find themselves at odds with not only the creatures but themselves as they battle for survival and the safety of the Earth.
As a fan of the game series I had followed the long development of the film with interest. As production began there were reports that the film would deviate from the game in not being set on Mars and following Zombies more than demons from hell. While the film is set on Mars there is some deviation that may upset fans of the game. Hell does not serve as the source of the enemies; rather it is something that is not present in any of the games. Another deviation is that the film unlike the game is not nonstop action.
Doom moves at a very deliberate pace and when the action comes, it tends to be against a solitary foe. Only for a brief segment near the conclusion of the film do we get a battle against a large mass, and then it is very short. The novel first person perspective shown late in the film was great fun as the audience howled with delight during this segment.
The Rock shows once again that he is a rising Star as his charisma and commanding presence propels the film even though he is a supporting character. No matter the cheese factor, or stiff lines, The Rock is such a compelling presence, he makes the film viewable. Urban is good in the lead role, though he is overshadowed by The Rock, as his strong soft spoken mannerisms seem out of place in a macho action setting.
All of this said, while it is by no means a landmark piece of cinema, Doom is fun, and is easily the best game adaptation to film yet.
In the new game to film adaptation Doom which is based on the phenomenally popular game series of the same name, International Action Star The Rock stars as Sarge, a by the book, no nonsense leader Of a rapid response team who have been tasked with quelling the situation on Mars. His #2 is John (Reaper) Grimm (Karl Urban), the son of two scientists who were killed years earlier in a move that drove John from the Red Planet and into the corps.
Unsure about where his head is Sarge suggests John take leave and skip the mission less he provide an unstable factor. Driven by his concern for his sister on the planet, and his devotion to duty, John accompanies his team to Mars via a teleportation device know as the Arc.
In no time the team has arrived and begun sweeping the affected areas of the base, and working to ensure that nothing can return to Earth without permission. As the team surveys the dark and isolated lab areas, John is also reunited with his sister Sam (Rosamund Pike), which brings up the memories of their dead parents and repressed hostility over his departure and emotional distance.
Of course this is a movie based on monsters and violence, so in no time, there are some strange things lurking in the darkened corridors of the lab and the team finds themselves locked in a series of deadly confrontations against enemies of unimaginable horror.
In short order the team is picked off by the deadly opposition which causes strain amongst the survivors, as it becomes clear that the work being conducted at the base was far from the simple excavations that they had been claiming for years. The truth is far more dangerous and soon has the very safety of Earth in the balance.
The changing dynamic soon divides Sarge and John and they find themselves at odds with not only the creatures but themselves as they battle for survival and the safety of the Earth.
As a fan of the game series I had followed the long development of the film with interest. As production began there were reports that the film would deviate from the game in not being set on Mars and following Zombies more than demons from hell. While the film is set on Mars there is some deviation that may upset fans of the game. Hell does not serve as the source of the enemies; rather it is something that is not present in any of the games. Another deviation is that the film unlike the game is not nonstop action.
Doom moves at a very deliberate pace and when the action comes, it tends to be against a solitary foe. Only for a brief segment near the conclusion of the film do we get a battle against a large mass, and then it is very short. The novel first person perspective shown late in the film was great fun as the audience howled with delight during this segment.
The Rock shows once again that he is a rising Star as his charisma and commanding presence propels the film even though he is a supporting character. No matter the cheese factor, or stiff lines, The Rock is such a compelling presence, he makes the film viewable. Urban is good in the lead role, though he is overshadowed by The Rock, as his strong soft spoken mannerisms seem out of place in a macho action setting.
All of this said, while it is by no means a landmark piece of cinema, Doom is fun, and is easily the best game adaptation to film yet.
Gareth von Kallenbach (965 KP) rated Pete's Dragon (2016) in Movies
Aug 6, 2019
Pete’s Dragon is a staple of my childhood. It was one of the three movies I would always choose to watch. So, naturally, I was a little worried when I heard about the new movie earlier this year. The teaser trailer didn’t give much to go by, but it looked promising. I trying something new this year where I do not watch anything beyond the teaser trailer (believe me, it’s killing me not to watch the new Rogue One trailer), so that’s all I had going into this. And I was pleasantly surprised.
39 years after the original, David Lowery brings us the re-invention of Pete’s Dragon. His aim was not to remake the original film, but to reinvent it. And that he did. PD opens up with a family traveling through a forest on a road trip. The young boy, Pete (Levi Alexander) is reading from a book about a lost puppy name Elliot. A tragic accident occurs, which leaves Pete by himself in the forest. As he starts to wander, a pack of wolves begins to close in on him, only to be thwarted by… you guessed it. A dragon.
Flash forward 6 years, and we now see an older Pete (Oakes Fegley) running around through the forest with Elliot, the dragon who he bonded with over the years. Pete happens upon a forest ranger, Grace (Bryce Dallas Howard) as she is scouting the forest, unmarking trees that were marked for cut down. She’s not a rebel, just protecting the habitat of an owl. Turns out her fiancé, Jack (Wes Bentley), and his brother, Gavin (Karl Urban), run the company that is tearing down the forest. One day, they happen upon Pete and bring him home, but Pete misses Elliot, and Elliot misses Pete. In an effort to get back to him, Elliot is discovered by Gavin who wants to hunt down Pete and bring him in. Grace seeks assistance from her father, Meachum (Robert Redford), who was always thought of as a crazy old man with his wild story of a dragon he met so many years ago. Can they help save Elliot from Gavin and his men?
While a little darker than the original, I found that I enjoyed this movie quite a lot. There are some plot holes to consider, and a little unbelievable on how fast the story develops in time passed in the universe set up here, but you have to understand that this movie is geared toward children. And I think they did well in creating an entertaining film for children and nostalgic adults alike. In fact, this screening was the quietest family screening I have ever attended. There were plenty of kids in the audience, but they were captivated.
Keeping in mind that this is truly a children’s movie, my biggest gripe was the absence of my favorite scene from the original (scorched apples, anyone?). But all in all, it is definitely something to get out to theaters to see. Lowery had indicated that he chose the appearance for Elliot as he did because he wanted to portray a dragon you could hug. Success, Mr. Lowery. Success. Pete’s Dragon is good fun for the whole family, so what are you waiting for? Go see it, already.
39 years after the original, David Lowery brings us the re-invention of Pete’s Dragon. His aim was not to remake the original film, but to reinvent it. And that he did. PD opens up with a family traveling through a forest on a road trip. The young boy, Pete (Levi Alexander) is reading from a book about a lost puppy name Elliot. A tragic accident occurs, which leaves Pete by himself in the forest. As he starts to wander, a pack of wolves begins to close in on him, only to be thwarted by… you guessed it. A dragon.
Flash forward 6 years, and we now see an older Pete (Oakes Fegley) running around through the forest with Elliot, the dragon who he bonded with over the years. Pete happens upon a forest ranger, Grace (Bryce Dallas Howard) as she is scouting the forest, unmarking trees that were marked for cut down. She’s not a rebel, just protecting the habitat of an owl. Turns out her fiancé, Jack (Wes Bentley), and his brother, Gavin (Karl Urban), run the company that is tearing down the forest. One day, they happen upon Pete and bring him home, but Pete misses Elliot, and Elliot misses Pete. In an effort to get back to him, Elliot is discovered by Gavin who wants to hunt down Pete and bring him in. Grace seeks assistance from her father, Meachum (Robert Redford), who was always thought of as a crazy old man with his wild story of a dragon he met so many years ago. Can they help save Elliot from Gavin and his men?
While a little darker than the original, I found that I enjoyed this movie quite a lot. There are some plot holes to consider, and a little unbelievable on how fast the story develops in time passed in the universe set up here, but you have to understand that this movie is geared toward children. And I think they did well in creating an entertaining film for children and nostalgic adults alike. In fact, this screening was the quietest family screening I have ever attended. There were plenty of kids in the audience, but they were captivated.
Keeping in mind that this is truly a children’s movie, my biggest gripe was the absence of my favorite scene from the original (scorched apples, anyone?). But all in all, it is definitely something to get out to theaters to see. Lowery had indicated that he chose the appearance for Elliot as he did because he wanted to portray a dragon you could hug. Success, Mr. Lowery. Success. Pete’s Dragon is good fun for the whole family, so what are you waiting for? Go see it, already.
Kirk Bage (1775 KP) rated The Boys - Season 2 in TV
Jan 22, 2021
As I have already stated in my review of season one of The Boys, it is a show that I have found compelling to watch without actually liking or thinking it is necessarily very good. The premise was intriguing, and threw up some pretty interesting dramatic conflicts in the first season. But it was obvious from very early on that this show wanted to make the most of its 18 certificate and use gore, violence and shock tactics to really make fans of those things gasp.
In season two they have taken that key point of difference and turned the volume up to ten! All I remember from it, some three months now since I finished it, is blood, exploding and crushed heads, severed limbs, gross out deaths and lots more blood. Which, you know, turns some people on, but after the first ten times I got pretty sick of it – almost literally – and was just riding it out to the finish mostly.
Performance wise, there isn’t really a stand out, and the writing doesn’t really offer the opportunity (yet) for true emotional depth. Antony Starr, as the deplorably egotistical maniac “hero” Homelander, is the one you love to hate though! Rarely have I found myself wanting a character to get his dues so much! He is utterly loathsome and repulsive, so much credit for that creation. Depending on where they take things in season 3 and beyond, he could emerge as one of the iconic characters of this era of streaming TV.
In terms of story progression, a decent job has been made by introducing Aya Cash as Stormfront, a depraved love interest for Homelander with a big secret and a great plot device. Most of the events have revolved around her introduction, development, backstory reveal and consequences of that on the show’s main man. Meanwhile the storyline around Karl Urban as Billy Butcher becomes more and more forgettable and sometimes irrelevant.
That is the problem with this show really; it has set itself up as being Superheros that are actually assholes vs renegade anti-heros that want to stop them… but, it knows that as soon as that conflict is resolved and satisfied the show is over. So, they drag the story along with very minimal contact as yet between the two. Plenty of inner turmoil within the two groups, but no action as such against one another.
And that is why the build up to this season’s climax felt mostly anti-climactic. Although it did land a half decent cliff-hanger right at the end. I don’t know… I just feel as if it’s a show to let wash over you without that much value in analysing it. And that wash always makes me feel slightly grubbier than I was before. If redemption, conflict and resolution are on the cards they need to get a dose of it into season three, or I will probably lose interest fast.
Amazon Prime has a lot of shows a lot better than this one, but probably none that appeal as much to boys and men under 30. It has its place on the vast entertainment schedule, but personally I am craving more meaning and less of the puerile dependence on gore. However, if that is what its audience talk about, then its gonna increase not decrease. They have set their own bloody bar now and my fear is this is what the future of the show holds: more and more original ways to gross us out. I’d like to be proved wrong, but I don’t feel in a huge rush about it either way.
In season two they have taken that key point of difference and turned the volume up to ten! All I remember from it, some three months now since I finished it, is blood, exploding and crushed heads, severed limbs, gross out deaths and lots more blood. Which, you know, turns some people on, but after the first ten times I got pretty sick of it – almost literally – and was just riding it out to the finish mostly.
Performance wise, there isn’t really a stand out, and the writing doesn’t really offer the opportunity (yet) for true emotional depth. Antony Starr, as the deplorably egotistical maniac “hero” Homelander, is the one you love to hate though! Rarely have I found myself wanting a character to get his dues so much! He is utterly loathsome and repulsive, so much credit for that creation. Depending on where they take things in season 3 and beyond, he could emerge as one of the iconic characters of this era of streaming TV.
In terms of story progression, a decent job has been made by introducing Aya Cash as Stormfront, a depraved love interest for Homelander with a big secret and a great plot device. Most of the events have revolved around her introduction, development, backstory reveal and consequences of that on the show’s main man. Meanwhile the storyline around Karl Urban as Billy Butcher becomes more and more forgettable and sometimes irrelevant.
That is the problem with this show really; it has set itself up as being Superheros that are actually assholes vs renegade anti-heros that want to stop them… but, it knows that as soon as that conflict is resolved and satisfied the show is over. So, they drag the story along with very minimal contact as yet between the two. Plenty of inner turmoil within the two groups, but no action as such against one another.
And that is why the build up to this season’s climax felt mostly anti-climactic. Although it did land a half decent cliff-hanger right at the end. I don’t know… I just feel as if it’s a show to let wash over you without that much value in analysing it. And that wash always makes me feel slightly grubbier than I was before. If redemption, conflict and resolution are on the cards they need to get a dose of it into season three, or I will probably lose interest fast.
Amazon Prime has a lot of shows a lot better than this one, but probably none that appeal as much to boys and men under 30. It has its place on the vast entertainment schedule, but personally I am craving more meaning and less of the puerile dependence on gore. However, if that is what its audience talk about, then its gonna increase not decrease. They have set their own bloody bar now and my fear is this is what the future of the show holds: more and more original ways to gross us out. I’d like to be proved wrong, but I don’t feel in a huge rush about it either way.
Gareth von Kallenbach (965 KP) rated Star Trek Into Darkness (2013) in Movies
Aug 7, 2019
The best movie of the summer has arrived, and it’s Star Trek Into Darkness!
There are so many cool things about J.J. Abrams second adventure in the beloved universe created all those years ago by Gene Roddenberry. But the best way to experience this movie is cold, devoid of any internet spoilers, if such a thing is possible in this day and age. That being said, here’s what I got for you.
The movie begins with Captain James Tiberius Kirk (Chris Pine) getting in to trouble with Starfleet for violating the Prime Directive. The Prime Directive is the United Federation of Plants number one rule against alerting primitive cultures to things that they are not nearly ready to grasp (i.e. space travel). But Kirk manages to avoid his punishment because Starfleet has a bigger problem on its hands: a rogue agent, named John Harrison (Benedict Cumberbatch) is attacking Federation facilities on Earth.
Admiral Markus (Peter Weller) gives Jim Kirk orders to kill Harrison, who has managed to escape Earth and hide on Kronos, the Klingon homeworld. So Kirk, along with his trusty crew including the ever-logical Mr. Spock (Zachary Quinto), James “Bones” McCoy (Karl Urban) and Uhura (Zoe Saldana), warp to the Neutral Zone that separates Federation space from the Klingon Empire. Only they discover that this mission – including the identity of the fugitive Harrison – is not what it seems.
That’s all I am giving you for plot details. Go see the movie!
And when you do, watch for the cleverness of the screenwriters. There are many classic Trek littered throughout the film including characters, place names and alien species that a Trekkie, excuse me… Trekker, will be hooting and hollering at. But this movie isn’t solely for the die hard Trekkers. There is enough action and excitement to keep even the most hard to please moviegoer entertained.
Abrams got a lot of flack for his 2009 reboot of the franchise, and most likely he will get it again for this film. But this time around, Abrams does stay closer to the virtues of the original universe including the bond of the Enterprise crew and the close friendships among Kirk, Spock and Bones. Abrams manages to draw nice moments of tension and comedy alike from the entire crew.
Our main characters do shine through though. Pine brings just the right amount of swagger to Kirk, Quinto gives both the humor and emotional intensity within Spock’s struggle to balance logic and emotion. But both of these actors have to work overtime to even be on the same level as Cumberbatch, who brings muscle and old-school, butt kicking style to the villain’s role.
The other thing that I really enjoyed, again without giving too much of the plot away, is the films willingness to acknowledge that we have strayed from the original story of Kirk and crew, and how the plot can draw on that to help strengthen the story. Once you see it, you will know what I am talking about.
I saw the movie in 3D, though I am of the impression that 3D is getting a little overrated these days. I am just not blown out of the water by the 3D effects that we are seeing in movies. The one thing that I was truly grateful for is that they didn’t throw it in your face, too much. There were moments where they had things fly at you, but for the most part it wasn’t the emphasis which allowed it to play out nicely.
What are you doing still reading? Get out there and see this movie. If you don’t, you will be sorry you hadn’t as everyone and their mom will be talking about this movie come Monday. I, myself, will be seeing it for a second time this Friday hoping to spot things I missed this first time around. The movie made people laugh, cry, and hang on to the edge of your seat. As a Star Wars fan, I loved this movie. And really can’t wait to see what Abrams does with the next installment (as well as Episode 7).
There are so many cool things about J.J. Abrams second adventure in the beloved universe created all those years ago by Gene Roddenberry. But the best way to experience this movie is cold, devoid of any internet spoilers, if such a thing is possible in this day and age. That being said, here’s what I got for you.
The movie begins with Captain James Tiberius Kirk (Chris Pine) getting in to trouble with Starfleet for violating the Prime Directive. The Prime Directive is the United Federation of Plants number one rule against alerting primitive cultures to things that they are not nearly ready to grasp (i.e. space travel). But Kirk manages to avoid his punishment because Starfleet has a bigger problem on its hands: a rogue agent, named John Harrison (Benedict Cumberbatch) is attacking Federation facilities on Earth.
Admiral Markus (Peter Weller) gives Jim Kirk orders to kill Harrison, who has managed to escape Earth and hide on Kronos, the Klingon homeworld. So Kirk, along with his trusty crew including the ever-logical Mr. Spock (Zachary Quinto), James “Bones” McCoy (Karl Urban) and Uhura (Zoe Saldana), warp to the Neutral Zone that separates Federation space from the Klingon Empire. Only they discover that this mission – including the identity of the fugitive Harrison – is not what it seems.
That’s all I am giving you for plot details. Go see the movie!
And when you do, watch for the cleverness of the screenwriters. There are many classic Trek littered throughout the film including characters, place names and alien species that a Trekkie, excuse me… Trekker, will be hooting and hollering at. But this movie isn’t solely for the die hard Trekkers. There is enough action and excitement to keep even the most hard to please moviegoer entertained.
Abrams got a lot of flack for his 2009 reboot of the franchise, and most likely he will get it again for this film. But this time around, Abrams does stay closer to the virtues of the original universe including the bond of the Enterprise crew and the close friendships among Kirk, Spock and Bones. Abrams manages to draw nice moments of tension and comedy alike from the entire crew.
Our main characters do shine through though. Pine brings just the right amount of swagger to Kirk, Quinto gives both the humor and emotional intensity within Spock’s struggle to balance logic and emotion. But both of these actors have to work overtime to even be on the same level as Cumberbatch, who brings muscle and old-school, butt kicking style to the villain’s role.
The other thing that I really enjoyed, again without giving too much of the plot away, is the films willingness to acknowledge that we have strayed from the original story of Kirk and crew, and how the plot can draw on that to help strengthen the story. Once you see it, you will know what I am talking about.
I saw the movie in 3D, though I am of the impression that 3D is getting a little overrated these days. I am just not blown out of the water by the 3D effects that we are seeing in movies. The one thing that I was truly grateful for is that they didn’t throw it in your face, too much. There were moments where they had things fly at you, but for the most part it wasn’t the emphasis which allowed it to play out nicely.
What are you doing still reading? Get out there and see this movie. If you don’t, you will be sorry you hadn’t as everyone and their mom will be talking about this movie come Monday. I, myself, will be seeing it for a second time this Friday hoping to spot things I missed this first time around. The movie made people laugh, cry, and hang on to the edge of your seat. As a Star Wars fan, I loved this movie. And really can’t wait to see what Abrams does with the next installment (as well as Episode 7).