Search
Search results
Chris Sawin (602 KP) rated Venom: Let There Be Carnage (2021) in Movies
Dec 14, 2021
Tom Hardy's performance. (2 more)
Better CGI than the first film.
The film is stupidly fun.
It is REALLY dumb. (2 more)
Shriek is a wasted character.
Woody Harrelson's "hair."
Idiotic Gold
Venom was an unlikely hit for Sony Pictures making over $850 million worldwide – despite being a sloppy mess of a film.
Written by Jeff Pinkner (Jumanji (2019), The Dark Tower), Scott Rosenberg (Con Air, Gone in 60 Seconds), and Kelly Marcel (Cruella, Fifty Shades of Grey), the first Venom film boasted cheesy 90s dialogue, ugly, blobby CGI/special effects sequences, and a wacky performance from Tom Hardy.
However, its sequel – Venom: Let There Be Carnage – is essentially the restaurant/lobster tank sequence from the first film stretched across 90-minutes of absurdity.
If you revisit Venom before watching Venom: Let There Be Carnage – and more specifically, the end credits sequence from the first film – the difference between the two is almost night and day. At the end of the last film, Eddie showed a calm, confident demeanor totally confident in his demeanor when interviewing Cletus Kasady (Woody Harrelson).
However, in the actual sequel itself, Eddie is back to looking sick, sweating profusely, and constantly fidgeting while talking to Cletus, obviously showing signs that his attempts to keep Venom under control have taken a toll on him.
Meanwhile, it seems as though the filmmakers couldn’t decide on how to style Harrelson’s red-haired wig for the film, as it humorously changes in appearance nearly every time Cletus is on screen.
Not learning anything from Anne’s (Michelle Williams) decision to leave him in the first film, Venom: Let There Be Carnage sees Eddie attempting to cover Cletus as a way to right his struggling journalism career.
But after Cletus gets a taste of Eddie’s blood, he becomes Carnage, the unpredictable and murderous son of the symbiote.
Kelly Marcell is the only writer from the first film to return, but the sequel mark’s Tom Hardy first feature film writing credit. Hardy contributed a ton of material regarding the intricacies of Venom and Eddie’s relationship – and it shows, as because they obviously know each other very well, the two drive each other crazy and argue like an old married couple.
For example, Venom is sick of eating chickens and being restrained by Eddie’s rules, and throws weird, symbiotic tantrums when he doesn’t get his way, acting very much like a child who isn’t able to play with their favorite toy or eat their favorite candy.
What’s intriguing about Venom and Eddie’s relationship is that it’s complicated, to say the least. There are homosexual undertones in the film, with Venom seemingly having his own ‘coming out party’ and even confessing his love for Eddie, but most of the film’s romantic undertones deal with both Eddie and Venom’s desire to win back Annie – the former because he’s still in love with her, and the latter because he wants Eddie to be happy, as the two humans are better together than they are apart.
It’s not as awkward as Eddie and Venom having a baby in the comics, but it’s still a peculiar way to go about exploring their relationship. Yet, it kind of works with the overall hectic and fast paced nature of the film.
The sequel also features an overall improvement in CGI and special effects, with Venom appearing more detailed in both the black, sleeker, and shinier parts of his body and his head, while his teeth have so much more detail than they did in his first outing.
Carnage being red also allows the audience to decipher what’s occurring on screen so much easier than in the first film, whose final fight between Venom and Riot is a horrid mess of two gray and black symbiotes that kind of just mashes them together into an indistinguishable blob of CGI and hopes that the audience’s imagination can do most of the heavy lifting.
Notably, there’s also a ton of fire in Let There Be Carnage, an ambient background addition which adds additional light sources and makes the action so much easier for your eyes to process.
The transformation sequences are special effects masterpieces because they have almost a werewolf kind of aspect to them – those in-between animations of Tom Hardy’s and Woody Harrelson’s faces being half transformed go a long way.
In particular, Carnage’s introduction is a pretty incredible display, as he causes a ton of mayhem and kills a massive amount of people. However, there is one lame aspect of Carnage’s CGI appearance, which is the goofy ‘tornado’ he turns into to as he violently sweep across his prison block – thankfully, however, it’s a simple thing to look past.
As for the Shriek (Naomie Harris)/Officer Mulligan (Stephen Graham), her entire side story is ultimately unnecessary. Shriek is only included in the film because of her ability to scream, and thus hurt symbiotes (due to their weakness to loud sounds).
Harris also uses a really stupid raspy voice for the role and is basically wasted overall in both her talents as an actor and as a meaningful character.
Venom: Let There Be Carnage never tries to be anything other than a dumb superhero film, but if you hated the first film, the sequel won’t make you feel any differently about Marvel’s lethal protector.
Hardy, in dual roles, is what makes these films worthwhile in the slightest, as his intricately comical self-chemistry is insane. The film also boasts what feels like an accelerated pace that moves the story from action sequence to action sequence before coming to an end rather quickly, leaving Venom: Let There Be Carnage to stand as one of those a special kind of stupid blockbuster endeavors that, every so often, strikes idiotic gold.
The sequel is a definite improvement over the first film in the sense that it totally embraces its stupidity resulting in a comic book film that feels light, silly, and amusingly psychotic all at the same time.
Oh, and in case you’re wondering – yes, the end-credits sequence is as worthwhile as the internet has made it out to be.
Written by Jeff Pinkner (Jumanji (2019), The Dark Tower), Scott Rosenberg (Con Air, Gone in 60 Seconds), and Kelly Marcel (Cruella, Fifty Shades of Grey), the first Venom film boasted cheesy 90s dialogue, ugly, blobby CGI/special effects sequences, and a wacky performance from Tom Hardy.
However, its sequel – Venom: Let There Be Carnage – is essentially the restaurant/lobster tank sequence from the first film stretched across 90-minutes of absurdity.
If you revisit Venom before watching Venom: Let There Be Carnage – and more specifically, the end credits sequence from the first film – the difference between the two is almost night and day. At the end of the last film, Eddie showed a calm, confident demeanor totally confident in his demeanor when interviewing Cletus Kasady (Woody Harrelson).
However, in the actual sequel itself, Eddie is back to looking sick, sweating profusely, and constantly fidgeting while talking to Cletus, obviously showing signs that his attempts to keep Venom under control have taken a toll on him.
Meanwhile, it seems as though the filmmakers couldn’t decide on how to style Harrelson’s red-haired wig for the film, as it humorously changes in appearance nearly every time Cletus is on screen.
Not learning anything from Anne’s (Michelle Williams) decision to leave him in the first film, Venom: Let There Be Carnage sees Eddie attempting to cover Cletus as a way to right his struggling journalism career.
But after Cletus gets a taste of Eddie’s blood, he becomes Carnage, the unpredictable and murderous son of the symbiote.
Kelly Marcell is the only writer from the first film to return, but the sequel mark’s Tom Hardy first feature film writing credit. Hardy contributed a ton of material regarding the intricacies of Venom and Eddie’s relationship – and it shows, as because they obviously know each other very well, the two drive each other crazy and argue like an old married couple.
For example, Venom is sick of eating chickens and being restrained by Eddie’s rules, and throws weird, symbiotic tantrums when he doesn’t get his way, acting very much like a child who isn’t able to play with their favorite toy or eat their favorite candy.
What’s intriguing about Venom and Eddie’s relationship is that it’s complicated, to say the least. There are homosexual undertones in the film, with Venom seemingly having his own ‘coming out party’ and even confessing his love for Eddie, but most of the film’s romantic undertones deal with both Eddie and Venom’s desire to win back Annie – the former because he’s still in love with her, and the latter because he wants Eddie to be happy, as the two humans are better together than they are apart.
It’s not as awkward as Eddie and Venom having a baby in the comics, but it’s still a peculiar way to go about exploring their relationship. Yet, it kind of works with the overall hectic and fast paced nature of the film.
The sequel also features an overall improvement in CGI and special effects, with Venom appearing more detailed in both the black, sleeker, and shinier parts of his body and his head, while his teeth have so much more detail than they did in his first outing.
Carnage being red also allows the audience to decipher what’s occurring on screen so much easier than in the first film, whose final fight between Venom and Riot is a horrid mess of two gray and black symbiotes that kind of just mashes them together into an indistinguishable blob of CGI and hopes that the audience’s imagination can do most of the heavy lifting.
Notably, there’s also a ton of fire in Let There Be Carnage, an ambient background addition which adds additional light sources and makes the action so much easier for your eyes to process.
The transformation sequences are special effects masterpieces because they have almost a werewolf kind of aspect to them – those in-between animations of Tom Hardy’s and Woody Harrelson’s faces being half transformed go a long way.
In particular, Carnage’s introduction is a pretty incredible display, as he causes a ton of mayhem and kills a massive amount of people. However, there is one lame aspect of Carnage’s CGI appearance, which is the goofy ‘tornado’ he turns into to as he violently sweep across his prison block – thankfully, however, it’s a simple thing to look past.
As for the Shriek (Naomie Harris)/Officer Mulligan (Stephen Graham), her entire side story is ultimately unnecessary. Shriek is only included in the film because of her ability to scream, and thus hurt symbiotes (due to their weakness to loud sounds).
Harris also uses a really stupid raspy voice for the role and is basically wasted overall in both her talents as an actor and as a meaningful character.
Venom: Let There Be Carnage never tries to be anything other than a dumb superhero film, but if you hated the first film, the sequel won’t make you feel any differently about Marvel’s lethal protector.
Hardy, in dual roles, is what makes these films worthwhile in the slightest, as his intricately comical self-chemistry is insane. The film also boasts what feels like an accelerated pace that moves the story from action sequence to action sequence before coming to an end rather quickly, leaving Venom: Let There Be Carnage to stand as one of those a special kind of stupid blockbuster endeavors that, every so often, strikes idiotic gold.
The sequel is a definite improvement over the first film in the sense that it totally embraces its stupidity resulting in a comic book film that feels light, silly, and amusingly psychotic all at the same time.
Oh, and in case you’re wondering – yes, the end-credits sequence is as worthwhile as the internet has made it out to be.
Kristy H (1252 KP) rated The Favorite Sister in Books
Mar 10, 2019
Fell flat for me
The reality TV show Goal Diggers is supposed to buck the trend of most reality TV, with a focus on the radical notion that it is about women putting other women first. It even features unmarried, childless (for the most part), successful women. But, is that really the case? It sure seems like everyone on Diggers is fake and lying. There's Brett, 27, the youngest of the group, who is running her business, SPOKE, which focuses on helping women in Morocco. Her sister, Kelly is the newest addition, and she runs the business with Brett and is a mom to her teenage daughter, Layla. There's also Jen, who oversees her vegan empire; Lauren, creator of a dating website; and Stephanie, a successful author. None of these women really like each other after several seasons of the show. Even so, the producers never expected it all to end in murder.
I have some conflicted and confused emotions about this book. It took me over a week to read, which is forever in my world (I finished three other books in the meantime, to put it in perspective). You know how your Kindle tells you the percentage left to read? I swear that number never changed, it felt like such slow going, and I considered giving up several times. I really only kept reading because of a big reveal that happened on page one (literally) and then the rest of the book spends its time going back in time explaining what happened. I was mildly curious enough to find out what went down. The novel keeps you wondering just enough even if you don't like the characters.
Because, wow, these characters are really despicable. I can get past it in most books, and I thought maybe I'd like Brett for a while, but this self-centered group really took the cake. I am not a reality TV person, especially Real Housewives, so maybe that's part of why this one wasn't for me? I found the in-fighting, petty catfights, and personal drama to just be over-the-top. It's sad, because at times, I found a real wit and depth to the book, but for the most part it just dragged on. And on.
And again, some of this just may be because I'm not a reality TV gal. I really like Knoll's writing, I just couldn't get a handle on the tone. Funny? Serious? Both? What was it aiming for? Did it all just go over my head? I caught that it was trying for some really meaningful social commentary about feminism, weight, race, and so much more, but then it would get lost in two women fighting over platform heels.
There were some good twists at the end, but overall, this one fell flat for me, including the final ending. I felt like I slogged through it, and I just didn't enjoy the characters. Perhaps I missed the overall point or meaning. Many others have enjoyed it, so you may find it's more suited for you than it was for me.
I received a copy of this novel from the publisher and Edelweiss in return for an unbiased review (thank you!).
I have some conflicted and confused emotions about this book. It took me over a week to read, which is forever in my world (I finished three other books in the meantime, to put it in perspective). You know how your Kindle tells you the percentage left to read? I swear that number never changed, it felt like such slow going, and I considered giving up several times. I really only kept reading because of a big reveal that happened on page one (literally) and then the rest of the book spends its time going back in time explaining what happened. I was mildly curious enough to find out what went down. The novel keeps you wondering just enough even if you don't like the characters.
Because, wow, these characters are really despicable. I can get past it in most books, and I thought maybe I'd like Brett for a while, but this self-centered group really took the cake. I am not a reality TV person, especially Real Housewives, so maybe that's part of why this one wasn't for me? I found the in-fighting, petty catfights, and personal drama to just be over-the-top. It's sad, because at times, I found a real wit and depth to the book, but for the most part it just dragged on. And on.
And again, some of this just may be because I'm not a reality TV gal. I really like Knoll's writing, I just couldn't get a handle on the tone. Funny? Serious? Both? What was it aiming for? Did it all just go over my head? I caught that it was trying for some really meaningful social commentary about feminism, weight, race, and so much more, but then it would get lost in two women fighting over platform heels.
There were some good twists at the end, but overall, this one fell flat for me, including the final ending. I felt like I slogged through it, and I just didn't enjoy the characters. Perhaps I missed the overall point or meaning. Many others have enjoyed it, so you may find it's more suited for you than it was for me.
I received a copy of this novel from the publisher and Edelweiss in return for an unbiased review (thank you!).
Sassy Brit (97 KP) rated The Things We Cannot Say in Books
Jun 5, 2019
The Things We Cannot Say by Kelly Rimmer delves into how loved ones are never forgotten within the backdrop of WWII. At the drop of a hat someone’s life can change all of sudden, which is what happened to a family after the Nazis occupied Poland.
Based on her own family, Rimmer tells how “my grandparents were Polish Catholic. They never spoke a lot about what happened to them before they immigrated to Australia. We did not know about how they lived. They would not talk about the war and seemed to put it behind them. I saw this picture of my grandparents in the sunshine and so relaxed. This got me thinking about their story, how they had hope and despair. I decided to travel to the village where they lived in Poland with my aunt and sister. I was able to capture what life was like including Auschwitz and Birkenau, which was such a shocking experience. It is impossible to get my head around the violence of that era, the utter brutality and cruelty.”
The story alternates between war-torn Poland in the 1930s and 1940s and modern-day Florida. The main characters are Alina, having to endure the horrific Nazi occupation; Alice, and her grandmother Hanna, who has made a dying wish, find Tomasz, her soul mate in Poland.
Alice is living in Florida, juggling between being the mother of a six-year-old boy, Eddie, who has autism and her ten-year-old daughter, Callie, who is extremely gifted. Hanna, her grandmother, at the age ninety-five, has suffered a debilitating stroke where she can no longer speak. These present-day characters are somehow related to the past through Alina.
Enduring the Nazis, Alina is struggling to survive and find hope that she and Tomasz can marry at the war’s conclusion. But as their situation gets worse hope begins to dwindle and they wonder, after being separated, will they ever see each other again. This story does not spare the reader all the horrors of the Nazis where they killed in cold blood and used the tools of starvation, rape, and disease.
What makes this story stand out are the relationships. It is heartwarming to read how Eddie has connected with his grandmother and the love between them. Alice and Hanna also have a special relationship since she was the one who gave her granddaughter unconditional love and support, while Alice’s mother became a career mom. Alina and Tomasz also had a special love that was deep and touching.
“I wanted to write about autism and how Eddie is a real person who had the people around him benefit from his life. He and Hanna understood and accepted each other. I also wanted to show how technology helped both he and Hanna communicate through an App. I had some experience with not being able to communicate. Just before I left for Poland I collapsed from a seizure of temporal lobe epilepsy, and was not able to speak for half an hour. I realized how frustrating it is and how scary.”
This emotional historical novel brings together the present and the past. It encompasses loyalty, love, and devotion.
Based on her own family, Rimmer tells how “my grandparents were Polish Catholic. They never spoke a lot about what happened to them before they immigrated to Australia. We did not know about how they lived. They would not talk about the war and seemed to put it behind them. I saw this picture of my grandparents in the sunshine and so relaxed. This got me thinking about their story, how they had hope and despair. I decided to travel to the village where they lived in Poland with my aunt and sister. I was able to capture what life was like including Auschwitz and Birkenau, which was such a shocking experience. It is impossible to get my head around the violence of that era, the utter brutality and cruelty.”
The story alternates between war-torn Poland in the 1930s and 1940s and modern-day Florida. The main characters are Alina, having to endure the horrific Nazi occupation; Alice, and her grandmother Hanna, who has made a dying wish, find Tomasz, her soul mate in Poland.
Alice is living in Florida, juggling between being the mother of a six-year-old boy, Eddie, who has autism and her ten-year-old daughter, Callie, who is extremely gifted. Hanna, her grandmother, at the age ninety-five, has suffered a debilitating stroke where she can no longer speak. These present-day characters are somehow related to the past through Alina.
Enduring the Nazis, Alina is struggling to survive and find hope that she and Tomasz can marry at the war’s conclusion. But as their situation gets worse hope begins to dwindle and they wonder, after being separated, will they ever see each other again. This story does not spare the reader all the horrors of the Nazis where they killed in cold blood and used the tools of starvation, rape, and disease.
What makes this story stand out are the relationships. It is heartwarming to read how Eddie has connected with his grandmother and the love between them. Alice and Hanna also have a special relationship since she was the one who gave her granddaughter unconditional love and support, while Alice’s mother became a career mom. Alina and Tomasz also had a special love that was deep and touching.
“I wanted to write about autism and how Eddie is a real person who had the people around him benefit from his life. He and Hanna understood and accepted each other. I also wanted to show how technology helped both he and Hanna communicate through an App. I had some experience with not being able to communicate. Just before I left for Poland I collapsed from a seizure of temporal lobe epilepsy, and was not able to speak for half an hour. I realized how frustrating it is and how scary.”
This emotional historical novel brings together the present and the past. It encompasses loyalty, love, and devotion.
Movie Metropolis (309 KP) rated Neighbors 2: Sorority Rising (2016) in Movies
Jun 11, 2019
More of the same
After the phenomenal success of Captain America: Civil War, the multiplexes have calmed down a little; that is until the release of X-Men: Apocalypse next week.
Sandwiched in between these two box-office behemoths is the sequel to Universal Studio’s surprise comedy hit, Bad Neighbours. But does another helping of Seth Rogen and Zac Efron’s adult humour hit the spot?
It’s fair to say that these films have a target audience firmly in mind. The first film was received best by University students and younger men according to box-office analysts and managed to gross a whopping $270m on an $18m budget – a sequel whilst completely unnecessary was as likely as an April shower.
Bad Neighbours 2 follows a very well-worn path, so well-worn in fact that it shoehorns the exact same premise from its predecessor into another 90 minute comedy, with just a few new twists and turns to stop it from being a carbon copy.
So, what are these twists and turns I hear you cry? Well, for one, Zac Efron’s Teddy Sanders is all grown up for one, returning to help Seth Rogen’s Mac, and Rose Byrne’s Kelly face-off against a sorority (instead of a fraternity) – headed by the excellent Chloe Grace Moretz.
Plot wise, that’s about it; in fact there is no plot to speak off and the real highlight in this simple film are the reams and reams of adult gags. The majority of them hit the spot; a brilliantly shot sequence at a college ‘festival’ is absolutely hilarious, and then a few of them don’t – but that’s to be expected in any comedy.
When it comes to the acting, it’s a by-the-numbers affair. Seth Rogen and Rose Byrne are dependable with the latter’s credentials in the genre expanding by the day. From Bridesmaids to Spy, she’s fast becoming a new comedy star, and there’s no complaint from me there.
Zac Efron is now utterly typecast but I doubt he’ll care if his movies keep packing out cinemas across the world. Despite his usual reliable performances, he’s starting to look a little older than his ‘frat boy’ characters would have you believe and if he can’t shake off that tag, he’ll end up in the bargain bins alongside Tobey Maguire. That’s a shame, as his more serious roles prove he has the acting chops to go with his good looks.
Elsewhere, Chloe Grace Moretz is the only sorority girl to make an impact and her sweet, if predictable backstory provide Bad Neighbours 2 with its only real sense of emotion.
Overall, Bad Neighbours 2 is a very funny adult comedy despite its lack of plot and the by-the-numbers casting. Returning director Nicholas Stoller has introduced a more female-orientated film that will no doubt pay dividends at the box-office. It definitely wasn’t needed, but as is the case in the film world, money talks.
https://moviemetropolis.net/2016/05/14/more-of-the-same-bad-neighbours-2-review/
Sandwiched in between these two box-office behemoths is the sequel to Universal Studio’s surprise comedy hit, Bad Neighbours. But does another helping of Seth Rogen and Zac Efron’s adult humour hit the spot?
It’s fair to say that these films have a target audience firmly in mind. The first film was received best by University students and younger men according to box-office analysts and managed to gross a whopping $270m on an $18m budget – a sequel whilst completely unnecessary was as likely as an April shower.
Bad Neighbours 2 follows a very well-worn path, so well-worn in fact that it shoehorns the exact same premise from its predecessor into another 90 minute comedy, with just a few new twists and turns to stop it from being a carbon copy.
So, what are these twists and turns I hear you cry? Well, for one, Zac Efron’s Teddy Sanders is all grown up for one, returning to help Seth Rogen’s Mac, and Rose Byrne’s Kelly face-off against a sorority (instead of a fraternity) – headed by the excellent Chloe Grace Moretz.
Plot wise, that’s about it; in fact there is no plot to speak off and the real highlight in this simple film are the reams and reams of adult gags. The majority of them hit the spot; a brilliantly shot sequence at a college ‘festival’ is absolutely hilarious, and then a few of them don’t – but that’s to be expected in any comedy.
When it comes to the acting, it’s a by-the-numbers affair. Seth Rogen and Rose Byrne are dependable with the latter’s credentials in the genre expanding by the day. From Bridesmaids to Spy, she’s fast becoming a new comedy star, and there’s no complaint from me there.
Zac Efron is now utterly typecast but I doubt he’ll care if his movies keep packing out cinemas across the world. Despite his usual reliable performances, he’s starting to look a little older than his ‘frat boy’ characters would have you believe and if he can’t shake off that tag, he’ll end up in the bargain bins alongside Tobey Maguire. That’s a shame, as his more serious roles prove he has the acting chops to go with his good looks.
Elsewhere, Chloe Grace Moretz is the only sorority girl to make an impact and her sweet, if predictable backstory provide Bad Neighbours 2 with its only real sense of emotion.
Overall, Bad Neighbours 2 is a very funny adult comedy despite its lack of plot and the by-the-numbers casting. Returning director Nicholas Stoller has introduced a more female-orientated film that will no doubt pay dividends at the box-office. It definitely wasn’t needed, but as is the case in the film world, money talks.
https://moviemetropolis.net/2016/05/14/more-of-the-same-bad-neighbours-2-review/
Mike Wilder (20 KP) rated Road House (1989) in Movies
May 30, 2018
Very underrated
Contains spoilers, click to show
So what kind of film do you get when you have great one liners, bar fights, guns, knives, egos, strippers, blues music, a polar bear and a monster truck? You get one of the most enjoyable and entertaining films of the late 80's, Road House. The film follows James Dalton (Patrick Swayze) a cooler (bouncer) and the best in the business, as he takes employment with Frank Tilghman (Kevin Tighe) the owner of the Double Deuce in Jasper, Missouri. The bar is the roughest in town and he needs Dalton to clean it up. However corrupt business man and crime boss Brad Wesley (Ben Gazzara) stands in his way. After the classic "chick flick" Dirty Dancing, Patrick Swayze was Hollywood gold. Women loved him and men wanted to be him. The film was full of romance. Then along came Road House, a complete opposite to Dirty Dancing, a little romance and loads of action. The film has a great cast including Patrick Swayze, Kevin Tighe, Ben Gazzara, Kelly Lynch, Marshall R. Teague, Red West, Kathleen Wilhoite, John William Young, John Doe, Kurt James Stefka, Keith David & Terry Funk. The cast works well together and it is full of great performances. Naturally Patrick Swayze at the height of his career stands miles apart from the rest of the cast as Dalton. A character that can hurt you with his words just as much as his fists. Tragically, 20 years later Swayze had his life cut short by cancer. His death is still a major loss to the entertainment industry, but his legacy will live on in the great performances and memorable characters he played. The film also a features a great performance by the late great blues guitarist Jeff Healey as Cody. It's the music in the film that goes a long way to achieving the right feel for the film. Everything works well from the characters, the music to the setting. Set in a rural area the scenery is breath-taking and it is used to great effect. But it's the fight choreography that stands out from many other films. Great bar fights are pretty much a thing of the past, but here they are full of action and humour just like the classic westerns. The one on one fights are brutal, mainly for the realism they portray. The script is awesome and full of classic lines mainly from Dalton and although many are cheesy, when he says it, it feels right. The director surprisingly hasn't made many films but the ones I have seen of his I really like and I know I am in the minority. See my review of Gladiator (1992) for more by this director. This is truly a great film, although very underrated. It is also one of my personal all-time favourites. There are a couple of versions of this so ensure that you see the USA or UK version released after 2002 as these are the uncut editions. So grab a few beers and a few friends, but this on a big screen and turn the sound way up for a really great movie experience.
Kristy H (1252 KP) rated Stone Mothers in Books
Jun 21, 2019
Marianne's heart drops when she realizes her husband, Sam, has bought a flat for her in the town where she grew up, Nusstead. It's in the town's former mental asylum--all prettied up and converted into beautiful apartments. But Sam doesn't know about the dark secrets the asylum holds for Marianne and her teenage boyfriend, Jesse. Marianne fled Nusstead--and Jesse--as soon as she could, making a new life for herself with daughter Honor and Sam. Jesse never really forgave her and now that she's back, he's threatening to expose their long buried secrets. Marianne is determined to keep her husband and daughter from knowing about her past. But how far must she go to protect her secrets? And what doesn't she know about the past?
This was my first Erin Kelly book; it was a different sort of thriller. First off, please note there is a trigger warning for self-harm and suicide.
The book started off slow, and honestly, this is why I have such a hard time with being able to DNF a book. I was tempted for a little while, because I couldn't get into Marianne's voice or story. But then, as the book progressed, things picked up, and I actually became pretty engrossed in the plot. The story is sort of told backward, almost. It starts with the present and Marianne and then we get some different points of view, as well as timelines in the 80s and even 50s. (I don't want to say more than that.) The portion in the 80s is still told by Marianne, but I really liked her younger voice and was caught up in what was happening by then. I was glad I had kept reading. Initially, the book had seemed a little confusing--a lot is made about the fact that something has happened in the past and yet we don't know what it is--and yes, keeping us in suspense is the point, but still. It was a little much at times.
There are some interesting twists and connections in this one. I enjoyed how it shone a spotlight on women's issues and mental health stories. It's always rather scary to see how women's mental health was treated in the past, though I suppose women's health isn't being treated with much more respect right now, is it?
The book was a tad repetitive at the end as the storyline wrapped back around to the present, but it was still pretty interesting. I wasn't always sure if I was reading a thriller, a character driven novel, or a treatment on mental health and women's issues: sometimes it seemed like the book was struggling to find itself and maybe the ending faltered a little bit because of that. Still, overall, I enjoyed this book. It became progressively more interesting, and the intersecting stories, especially the ones in the past, were very compelling. I enjoyed the focus on mental health, especially. I have Erin Kelly's He Said/She Said on my TBR shelf, and I'll definitely pick it up at some point. 3.5 stars.
This was my first Erin Kelly book; it was a different sort of thriller. First off, please note there is a trigger warning for self-harm and suicide.
The book started off slow, and honestly, this is why I have such a hard time with being able to DNF a book. I was tempted for a little while, because I couldn't get into Marianne's voice or story. But then, as the book progressed, things picked up, and I actually became pretty engrossed in the plot. The story is sort of told backward, almost. It starts with the present and Marianne and then we get some different points of view, as well as timelines in the 80s and even 50s. (I don't want to say more than that.) The portion in the 80s is still told by Marianne, but I really liked her younger voice and was caught up in what was happening by then. I was glad I had kept reading. Initially, the book had seemed a little confusing--a lot is made about the fact that something has happened in the past and yet we don't know what it is--and yes, keeping us in suspense is the point, but still. It was a little much at times.
There are some interesting twists and connections in this one. I enjoyed how it shone a spotlight on women's issues and mental health stories. It's always rather scary to see how women's mental health was treated in the past, though I suppose women's health isn't being treated with much more respect right now, is it?
The book was a tad repetitive at the end as the storyline wrapped back around to the present, but it was still pretty interesting. I wasn't always sure if I was reading a thriller, a character driven novel, or a treatment on mental health and women's issues: sometimes it seemed like the book was struggling to find itself and maybe the ending faltered a little bit because of that. Still, overall, I enjoyed this book. It became progressively more interesting, and the intersecting stories, especially the ones in the past, were very compelling. I enjoyed the focus on mental health, especially. I have Erin Kelly's He Said/She Said on my TBR shelf, and I'll definitely pick it up at some point. 3.5 stars.
Gareth von Kallenbach (971 KP) rated 4 Minute Mile (2014) in Movies
Aug 6, 2019
Once again, Skewed & Reviewed has granted me the good fortune to screen another film for
you. An ‘underdog story’ that gives most others a ‘run for their money’ but keeps us, the
viewers’ glued to our seats with it’s drama and intensity. What makes the film more unqiue
is that not only does it take place in the city of Seattle but was also film in the great
city!
‘4 Minute Mile’ premiered at the Seattle International Film Festival on June 5th and is
set for a theatrical release on August 1st. ‘4 Minute Mile’ stars Kelly Blatz, Richard Jenkins,
Analeigh Tipton, Cam Gigandet, Rhys Coiro, and Kim Basinger. Directed by Charles-Oliver
Michaud, ‘4 Minute Mile’ tells the story of Drew (Blatz). An smart teenager from the wrong
side of the tracks doing his best to help his mother (Basinger) while doing everything
possible to avoid the fate of his older brother, an ex-con out on parole who pressures
Drew into running ‘errands’ which are presumably illegal in nature. Drew also happens
to be a fast runner. He runs like hell. The very same day he quits his school’s track team,
a reclusive track coach (Jenkins) scouts him and agrees to train him. The two soon form a
‘Rocky/Mickey’- like bond. However, tragedy soon strikes and Drew finds himself facing
the fear of losing everything hes’ worked and fought for.
I honestly don’t think I can describe how amazing I thoughtnthis movie was. I really can’t
see myself writing anything that would do it justice. It’s like ‘Good Will Hunting’ meets
‘Rocky 1′. This is no major hollywood production. This film is an intense drama with A LOT
of heart in it. These folks obviously believed in the film and it shows in every aspect from
the story, to the acting, and the way it was filmed. Theres’ also ‘realism’ to it. It doesn’t
have a ‘perfect ending’. Drew, the main character, overcomes tragedy after defeat after tragedy
and in the end … he succeeds but at great cost. It’s like with an quest or journey. You’re
not going to succeed without lose. Being from the Pacific Northwest, I also have to give
the film mad props for actually shooting the film in Seattle where the movie takes place
rather than saying it takes place here and then going to shoot it in Canada which has
sadly become ‘standard procedure’ for Hollywood to the dismay of many.
My recommendation? If you like a down-to-earth movie with heart, go see this one.
See it in the theater, see it at home, but go see it. It’s worth seeing and its worth
spending your hard-earned money in my opinion. I personally give the movie 4 out of 5 stars.
The film is PG-13 and it clocks in at about an hour and 36 minutes.
On behalf of my fellows at Skewed & Reviewed, this is your fellow movie fanatic ‘The CameraMan’
thanks for reading, and i’ll see you folks at the movies ….
you. An ‘underdog story’ that gives most others a ‘run for their money’ but keeps us, the
viewers’ glued to our seats with it’s drama and intensity. What makes the film more unqiue
is that not only does it take place in the city of Seattle but was also film in the great
city!
‘4 Minute Mile’ premiered at the Seattle International Film Festival on June 5th and is
set for a theatrical release on August 1st. ‘4 Minute Mile’ stars Kelly Blatz, Richard Jenkins,
Analeigh Tipton, Cam Gigandet, Rhys Coiro, and Kim Basinger. Directed by Charles-Oliver
Michaud, ‘4 Minute Mile’ tells the story of Drew (Blatz). An smart teenager from the wrong
side of the tracks doing his best to help his mother (Basinger) while doing everything
possible to avoid the fate of his older brother, an ex-con out on parole who pressures
Drew into running ‘errands’ which are presumably illegal in nature. Drew also happens
to be a fast runner. He runs like hell. The very same day he quits his school’s track team,
a reclusive track coach (Jenkins) scouts him and agrees to train him. The two soon form a
‘Rocky/Mickey’- like bond. However, tragedy soon strikes and Drew finds himself facing
the fear of losing everything hes’ worked and fought for.
I honestly don’t think I can describe how amazing I thoughtnthis movie was. I really can’t
see myself writing anything that would do it justice. It’s like ‘Good Will Hunting’ meets
‘Rocky 1′. This is no major hollywood production. This film is an intense drama with A LOT
of heart in it. These folks obviously believed in the film and it shows in every aspect from
the story, to the acting, and the way it was filmed. Theres’ also ‘realism’ to it. It doesn’t
have a ‘perfect ending’. Drew, the main character, overcomes tragedy after defeat after tragedy
and in the end … he succeeds but at great cost. It’s like with an quest or journey. You’re
not going to succeed without lose. Being from the Pacific Northwest, I also have to give
the film mad props for actually shooting the film in Seattle where the movie takes place
rather than saying it takes place here and then going to shoot it in Canada which has
sadly become ‘standard procedure’ for Hollywood to the dismay of many.
My recommendation? If you like a down-to-earth movie with heart, go see this one.
See it in the theater, see it at home, but go see it. It’s worth seeing and its worth
spending your hard-earned money in my opinion. I personally give the movie 4 out of 5 stars.
The film is PG-13 and it clocks in at about an hour and 36 minutes.
On behalf of my fellows at Skewed & Reviewed, this is your fellow movie fanatic ‘The CameraMan’
thanks for reading, and i’ll see you folks at the movies ….
Gareth von Kallenbach (971 KP) rated Flight (2012) in Movies
Aug 7, 2019
I’m not good with dramas. I like to watch movies to escape reality and dramas are all about reminding you of the turmoil and awkwardness and unpredictability that is reality. But, only if they’re good. Dramas require an emotional response from the viewer, which can only be achieved through great performances, enhanced by story, music and editing. (don’t quote me I could be missing one). If one or more elements are missing, at best it’s an unexpected comedy, at worst you’ve just wasted time and money that you’ll never get back.
Flight in my opinion delivered. We start off with gratuitous nudity (for me it didn’t add to the story but guys will like it) from flight attendant Katerina Marquez (Nadine Valazquez) and a man, Captain Whip Whitacker (Denzel Washington) who’s about to hit his rock bottom. After a night of drinking and snorting some cocaine, together they take to the skies only for it to go horribly wrong, the plane begins an uncontrolled nose dive. Lot’s of close up shots put you right into the aircraft and you almost feel as if you’re on the flight as it’s going down (seriously my heart involuntarily started pounding faster).
Afterwards, the movie really hits its’ stride and gets into the gritty reality of what life can become. Denzel does an excellent job of bringing you in to the internal struggles with his demons; he’s so good in his denial. John Goodman plays a drug dealer Harling Mays, almost as a comic relief which actually works. Don Cheadle plays Hugh Lang, a criminal attorney sent to help Cpt Whitacker as questions arise about what really caused the plane to crash. He plays a great attorney, not smarmy, not slick, but intelligent and sharp, and in his own way, caring.
Nicole Maggen (Kelly Reilly), a drug addict who we witness goes through a relapse that puts her into the path of Cpt Whitacker. Co-pilot Ken Evans (Brian Geraghty) was a convincingly green pilot whom I would not want flying any plane I’m in. And flight attendant Margaret Tomason (Tamara Tunie), a good friend of Whitackers for several years and Pilots union rep Charlie Anderson (Bruce Greenwood) a long time military buddy who comes back into his life because of the crash. I liked both their performances, they really did great in their supporting rolls; you couldn’t have one without the other.
There is a question of devine intervention and redemption, but I think the movie steers clear of being overly religious. (I could have done without Ken Evans wife, overkill in my opinion and not necessary to the story). Anything more I say will spill the beans on the ending, so I’ll leave you with this; it really is unpredictable, you never quite know what Cpt Whitacker’s going to do until he does it. There are beautiful moments and bittersweet moments that create a powerful, emotional ride that I would recommend to someone who likes a good drama. And, even to people like me, who generally try to avoid them.
Flight in my opinion delivered. We start off with gratuitous nudity (for me it didn’t add to the story but guys will like it) from flight attendant Katerina Marquez (Nadine Valazquez) and a man, Captain Whip Whitacker (Denzel Washington) who’s about to hit his rock bottom. After a night of drinking and snorting some cocaine, together they take to the skies only for it to go horribly wrong, the plane begins an uncontrolled nose dive. Lot’s of close up shots put you right into the aircraft and you almost feel as if you’re on the flight as it’s going down (seriously my heart involuntarily started pounding faster).
Afterwards, the movie really hits its’ stride and gets into the gritty reality of what life can become. Denzel does an excellent job of bringing you in to the internal struggles with his demons; he’s so good in his denial. John Goodman plays a drug dealer Harling Mays, almost as a comic relief which actually works. Don Cheadle plays Hugh Lang, a criminal attorney sent to help Cpt Whitacker as questions arise about what really caused the plane to crash. He plays a great attorney, not smarmy, not slick, but intelligent and sharp, and in his own way, caring.
Nicole Maggen (Kelly Reilly), a drug addict who we witness goes through a relapse that puts her into the path of Cpt Whitacker. Co-pilot Ken Evans (Brian Geraghty) was a convincingly green pilot whom I would not want flying any plane I’m in. And flight attendant Margaret Tomason (Tamara Tunie), a good friend of Whitackers for several years and Pilots union rep Charlie Anderson (Bruce Greenwood) a long time military buddy who comes back into his life because of the crash. I liked both their performances, they really did great in their supporting rolls; you couldn’t have one without the other.
There is a question of devine intervention and redemption, but I think the movie steers clear of being overly religious. (I could have done without Ken Evans wife, overkill in my opinion and not necessary to the story). Anything more I say will spill the beans on the ending, so I’ll leave you with this; it really is unpredictable, you never quite know what Cpt Whitacker’s going to do until he does it. There are beautiful moments and bittersweet moments that create a powerful, emotional ride that I would recommend to someone who likes a good drama. And, even to people like me, who generally try to avoid them.
Gareth von Kallenbach (971 KP) rated Raya and the Last Dragon (2021) in Movies
Mar 1, 2021
In a magical land known as Kumandra; Humans and Dragons co-exist in harmony. When a threat in the form of creatures known as Druun arrive and threaten to destroy everything; the Dragons combine their power to defeat them but in doing so all but one of the Dragons remains.
In the new Disney animated film “Raya and the Last Dragon”; audiences are introduced to the narrative of the story by Raya (Kelly Marie Tran), who tells that the world has become fractured and she is to blame. A sacred relic that the Dragons used to Defeat the Druun has given her kingdom prosperity but the surrounding kingdoms all named after various parts of a Dragon are envious of their position.
When Raya’s father Chief Benja (Daniel Dae Kim); attempts to unite the other kingdoms, a tragic betrayal results in the relic becoming fractured with each kingdom taking a fragment. As if this situation was not bad enough; the fracturing of the relic ushers in the return of the Druun and they quickly resume turning everything not protected by a barrier of water to stone.
The story then jumps years into the future where Raya and her faithful companion Tuk Tuk (Alan TudyK) are searching the rivers of the kingdoms in an effort to find the location where the last Dragon Sisu (Awkwafina) is rumored to have been sleeping for 500 years.
Raya is eventually able to locate Sisu who is a very playful and animated creature and the two set off to save the day by obtaining the missing fragments through any means necessary. Naturally, their journey will be filled with dangers, adventure, and humor, as the various kingdoms have their own unique visual style and characters; some of whom join with Raya on her quest to provide much-needed support, perspective, and at times; humor.
The movie is visually amazing as the artists clearly were inspired to create a world that combines elements of many Asian cultures yet has its own unique traits. I marveled at the details of the water and ripples and how the railings on a boat showed uneven discoloration and wear in just a casual scene where the characters talked. It is this attention to detail that really adds to the magic of the film as well as the immersion into fantasy.
The supporting cast was great and there are some characters I do not wish to spoil who practically steals every scene in which they are in. My wife and I were captivated from the very start as Disney has created a film that embodies much of their classic themes and yet expands upon them to create a film the entire family will enjoy.
The movie will be released in cinemas and via a paid option for Disney+ subscribers. We attended a press screening at a cinema; our first in almost a year and found the setup to be very safe and it was amazing to see such visual splendor on a big screen.
Disney has once again created a new classic and has given audiences the magic that they are known for at a time when it is most needed.
4 stars out of 5.
In the new Disney animated film “Raya and the Last Dragon”; audiences are introduced to the narrative of the story by Raya (Kelly Marie Tran), who tells that the world has become fractured and she is to blame. A sacred relic that the Dragons used to Defeat the Druun has given her kingdom prosperity but the surrounding kingdoms all named after various parts of a Dragon are envious of their position.
When Raya’s father Chief Benja (Daniel Dae Kim); attempts to unite the other kingdoms, a tragic betrayal results in the relic becoming fractured with each kingdom taking a fragment. As if this situation was not bad enough; the fracturing of the relic ushers in the return of the Druun and they quickly resume turning everything not protected by a barrier of water to stone.
The story then jumps years into the future where Raya and her faithful companion Tuk Tuk (Alan TudyK) are searching the rivers of the kingdoms in an effort to find the location where the last Dragon Sisu (Awkwafina) is rumored to have been sleeping for 500 years.
Raya is eventually able to locate Sisu who is a very playful and animated creature and the two set off to save the day by obtaining the missing fragments through any means necessary. Naturally, their journey will be filled with dangers, adventure, and humor, as the various kingdoms have their own unique visual style and characters; some of whom join with Raya on her quest to provide much-needed support, perspective, and at times; humor.
The movie is visually amazing as the artists clearly were inspired to create a world that combines elements of many Asian cultures yet has its own unique traits. I marveled at the details of the water and ripples and how the railings on a boat showed uneven discoloration and wear in just a casual scene where the characters talked. It is this attention to detail that really adds to the magic of the film as well as the immersion into fantasy.
The supporting cast was great and there are some characters I do not wish to spoil who practically steals every scene in which they are in. My wife and I were captivated from the very start as Disney has created a film that embodies much of their classic themes and yet expands upon them to create a film the entire family will enjoy.
The movie will be released in cinemas and via a paid option for Disney+ subscribers. We attended a press screening at a cinema; our first in almost a year and found the setup to be very safe and it was amazing to see such visual splendor on a big screen.
Disney has once again created a new classic and has given audiences the magic that they are known for at a time when it is most needed.
4 stars out of 5.
Bob Mann (459 KP) rated Bill & Ted Face the Music (2020) in Movies
Oct 7, 2020
And you thought Tenet's timey wimey stuff was confusing?
Thirty-One years after the first Bill and Ted movie, and 29 years after the slightly disappointing sequel, the dudes are back for a three-quel. Older... but not much wiser.
Bill (Alex Winter) and Ted (Keanu Reeves) are the only ones that can save reality. If they don't play the 'song that will unite humanity' at 7:17 at MP42 then the whole of time and space will unravel. It's already happening, with historical characters zapping here and there at random. There are only two problems: 1) they have no idea where MP42 is and; 2) the no-hoper wedding singers haven't written the song... yet.
Zipping forwards in time, they plan to steal the song from their future selves.
Meanwhile their daughters Thea (Samara Weaving) and Kelly (Kristen Schaal) travel backwards in time to assemble a world-class backing band. (As an aside, it is astonishing how much Weaving looks like Margot Robbie - never a bad thing in my book! If there is ever a biopic requiring a young and old version of her character, they will save a BOMB on the CGI bill!)
Meanwhile (meanwhile) Bill and Ted's princess brides (now Erinn Hayes as Elizabeth and Jayma Mays as Joanna) are unsettled with their marriages and are jumping from time to time to see if they can be happy with any version of Bill and Ted.
Death (William Sadler) quotes a Wyld Stallyns review as "A raging confused mess". And it really applies to this too! The screenplay, by original Bill and Ted writers Chris Matheson and Ed Solomon, is all over the place. With a scattergun approach to the comedy, some of the lines firmly stick to the wall - making me guffaw with laughter - and others are just plain duds.
Some of the scenes - a "couples therapy" session for example - seem to be desperately trying to be milked for all they're worth. Even the "monkey" after the end titles - with "old dudes" rocking out - isn't worth the wait.
But, contrary to that, it's also difficult not to be swept along with the anarchic joy of the concoction. The movie of course leans heavily on the nostalgic catchphrases and air guitar riffs of years gone by. But there's no shame in that. And there's a star quality cameo at one point that entertains.
Director Dean Parisot - most famous for the minor classic "Galaxy Quest" - manages to rustle all this diverse material into something that overall still manages to leave an overall stupid grin on your face. As a comedy it passes the '6-laugh' test, but - as someone who has never been a great "Bill and Ted" fan - it's not a classic. But I can see how "Bill and Ted" fans, like my daughter Jenn, would have loved it (and she did).
(For the graphical review, check out One Mann's Movies on t'internet here https://bob-the-movie-man.com/2020/10/06/bill-and-ted-party-on-til-we-drop-dudes/ . Thx.)
Bill (Alex Winter) and Ted (Keanu Reeves) are the only ones that can save reality. If they don't play the 'song that will unite humanity' at 7:17 at MP42 then the whole of time and space will unravel. It's already happening, with historical characters zapping here and there at random. There are only two problems: 1) they have no idea where MP42 is and; 2) the no-hoper wedding singers haven't written the song... yet.
Zipping forwards in time, they plan to steal the song from their future selves.
Meanwhile their daughters Thea (Samara Weaving) and Kelly (Kristen Schaal) travel backwards in time to assemble a world-class backing band. (As an aside, it is astonishing how much Weaving looks like Margot Robbie - never a bad thing in my book! If there is ever a biopic requiring a young and old version of her character, they will save a BOMB on the CGI bill!)
Meanwhile (meanwhile) Bill and Ted's princess brides (now Erinn Hayes as Elizabeth and Jayma Mays as Joanna) are unsettled with their marriages and are jumping from time to time to see if they can be happy with any version of Bill and Ted.
Death (William Sadler) quotes a Wyld Stallyns review as "A raging confused mess". And it really applies to this too! The screenplay, by original Bill and Ted writers Chris Matheson and Ed Solomon, is all over the place. With a scattergun approach to the comedy, some of the lines firmly stick to the wall - making me guffaw with laughter - and others are just plain duds.
Some of the scenes - a "couples therapy" session for example - seem to be desperately trying to be milked for all they're worth. Even the "monkey" after the end titles - with "old dudes" rocking out - isn't worth the wait.
But, contrary to that, it's also difficult not to be swept along with the anarchic joy of the concoction. The movie of course leans heavily on the nostalgic catchphrases and air guitar riffs of years gone by. But there's no shame in that. And there's a star quality cameo at one point that entertains.
Director Dean Parisot - most famous for the minor classic "Galaxy Quest" - manages to rustle all this diverse material into something that overall still manages to leave an overall stupid grin on your face. As a comedy it passes the '6-laugh' test, but - as someone who has never been a great "Bill and Ted" fan - it's not a classic. But I can see how "Bill and Ted" fans, like my daughter Jenn, would have loved it (and she did).
(For the graphical review, check out One Mann's Movies on t'internet here https://bob-the-movie-man.com/2020/10/06/bill-and-ted-party-on-til-we-drop-dudes/ . Thx.)
