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Erika (17788 KP) rated Harry Potter and the Chamber of Secrets (2002) in Movies
Apr 3, 2018
CoS is definitely not my favorite book in the HP series, and strangely enough, the movie made me like the book more. Christopher Columbus was very faithful to the book, as he was with SS. In the book, I thought Lockhart was an annoying twit, but Kenneth Branagh made him hilariously bearable, which made the movie for me. So, thanks Kenneth Branagh for making my least favorite HP book more likeable.
Lee KM Pallatina (951 KP) rated Anuvahood (2011) in Movies
Jun 17, 2019
The U.Ks answer to the Friday franchise
Meet Kenneth, a deluded wannabe MC who quits his supermarket job to pursue a career in rap. Not the sharpest of people, kay (Kenneth), his boys and newcomer Enrique smoke, chill and stumble through life, until kay see's big Mike, the local kingpin making it big, and decides he wants more in life, with his parents struggling to pay bills, locals becoming a nuisance and Tyrone, one of big Mike's lower level goons, who torments everyone and considers himself a ladies man, who kay ends up on the wrong side of.
This is a great British coming of age gangsta wannabe movie features some brilliant acting, great characters and light hearted tone, recommend a watch.
This is a great British coming of age gangsta wannabe movie features some brilliant acting, great characters and light hearted tone, recommend a watch.
Kevin Phillipson (9943 KP) rated Death on the Nile (2022) in Movies
Feb 24, 2022
Kenneth branagh (1 more)
Tom Bateman
Watched today at cineworld after watching murder on the orient express couple of weeks ago that I would the sequel to see if it was any good I would say it’s better than murder. On too the film this isn’t the first time I’ve seen a version of death on Nile this is third one Kenneth Branagh is back poirot with the tache back as well we get an origin of the moustache at the beginning of the movie also hos lost love who was mentioned in the first film which was nice. Nice to see Tom Bateman back as his friend from murder on the orient express then the list of suspects including French and sanders and Russell brand any of them could have done it. Anyway will there be third film who knows there’s so many more poirot story’s still out there good film
Sharpie0499 (114 KP) rated Murder on the Orient Express (2017) in Movies
Jul 10, 2018
Surprise ending (2 more)
All-star cast
Heart-wrenching
Poirot's moustache (1 more)
Kenneth Brannagh isn't David Suchet
Intriguing Agatha Christie Adaptation
I was very excited to watch the most recent adaptation of Agatha Christie's Poirot and for very good reason. It was a very well-rounded film filled with humour, intrigue, and devastation. I particularly loved the surprise plot twists so the audience can never really tell (unless extremely clever) who the culprit actually is until revealed by Hercules Poirot himself. The camera angles used were absolutely brilliant and refreshing. The all-star cast was a plus as it was nice to see familiar faces in unexpected roles. The acting, costumes, writing, and set all contributed to making the film have that true Agatha Christie feeling to it. On the downside, I was not a huge fan of Poirot's moustache and found it to be over-the-top and irritating. I also find myself leaning more towards David Suchet's version of Poirot than Kenneth Brannagh's. But, overall, this film was extremely entertaining and had my brain doing somersaults trying to figure out who the culprit was.
Lyndsey Gollogly (2893 KP) rated Siren's Call (Dark Tides #1) in Books
Feb 3, 2020
Between desire and love there are some things that can’t stay buried, even in the deep of the ocean.
As a woman with a secret, lighthouse keeper Tessa Lonike savors her solitude on the island of Little Mer, off the coast of Maine. During a violent storm, Tessa spots a man thrashing in the ice cold waters and dives in to save him, using her ability as a mermaid to easily pull him to shore.
When Kenneth Randall awakens on the beach he is alone, left with the haunting memory of his beautiful, flame-haired savior. But a year later, when Kenneth meets her again, he’s determined not to let Tessa slip away. Just as the desire between them begins to burn, Tessa’s archaeologist ex-lover comes back to town with a tantalizing clue to her murky heritage.
The trio travel to the Mediterranean in search of answers, and when Tessa inadvertently opens an underwater portal they find a lost mermaid city. But in the deep, not everything is as it seems, and Tessa must decide if she wants to take her place as the royal heir, or follow the call of her heart…
Well developed an enjoyable read. Kenneth had you rooting for him from the start but also had you wanting to slap some sense into him. Jake had you hating him in all aspects of the book. It had the adventure aspect too and I really enjoyed reading it. Hopefully her sisters will do more than sit round and bitch in future books.
Tess is a strong female lead.
As a woman with a secret, lighthouse keeper Tessa Lonike savors her solitude on the island of Little Mer, off the coast of Maine. During a violent storm, Tessa spots a man thrashing in the ice cold waters and dives in to save him, using her ability as a mermaid to easily pull him to shore.
When Kenneth Randall awakens on the beach he is alone, left with the haunting memory of his beautiful, flame-haired savior. But a year later, when Kenneth meets her again, he’s determined not to let Tessa slip away. Just as the desire between them begins to burn, Tessa’s archaeologist ex-lover comes back to town with a tantalizing clue to her murky heritage.
The trio travel to the Mediterranean in search of answers, and when Tessa inadvertently opens an underwater portal they find a lost mermaid city. But in the deep, not everything is as it seems, and Tessa must decide if she wants to take her place as the royal heir, or follow the call of her heart…
Well developed an enjoyable read. Kenneth had you rooting for him from the start but also had you wanting to slap some sense into him. Jake had you hating him in all aspects of the book. It had the adventure aspect too and I really enjoyed reading it. Hopefully her sisters will do more than sit round and bitch in future books.
Tess is a strong female lead.
Chris Sawin (602 KP) rated Conviction (2010) in Movies
Jun 22, 2019 (Updated Jun 23, 2019)
Betty Anne (Swank) and Kenneth Waters (Rockwell) are siblings who have been close ever since childhood. However Kenneth has always had problems with the law that only escalated as he got older and Betty Anne was always there for him to bail him out or give him a ride home. Now that he's facing life in prison for a murder he may not have even committed, Betty Anne is convinced that her brother is innocent of the charges even though everyone else has accepted the fact that Kenneth is a murderer including his daughter, Mandy (Graynor). Betty Anne is willing to do whatever it takes to make her brother a free man even if it means putting herself through law school, becoming a lawyer, and reopening a case that's 16 years old.
On the surface, Conviction seems like a very mixed bag. There had been little to no promotion for it out here while the trailer hadn't really been attached to any recent screenings. I do recall seeing a trailer for the film one time online months ago, but that's it. Truth be told, that's usually the best way to see a film. No scene has the chance to be overplayed because you had seen the trailer however many times. Conviction is very much an independent film and is borderline nonexistent even though it had a limited release last week. The result was not only an extremely emotional and powerful film, but Conviction also features some of the strongest performances of the year.
The dramatic film jumps around in time right from the beginning. We're shown the horrific aftermath of Katharina Brow's gruesome murder and then jump back to the present day where we see Betty Anne visiting Kenneth in prison. Soon after that, we travel back into the past where we're shown the adult lives of Betty Anne and Kenneth. They're very much a part of each other's lives even when they both have families of their own to worry about. Kenneth's run ins with the law become more frequent as he seems to be picked up whenever the law is broken in Ayer, Massachusetts. Then, we jump even further back into the past during Betty Anne and Kenneth's childhood. They were very close even at that age, but they didn't live normal lives. They were stealing, trespassing, and breaking and entering at an early age. The time jumps were kind of infrequent and abrupt; they seemed to just happen at whim but provided quite a bit of background history about Betty Anne and Kenneth that was crucial to the overall story.
I'm honestly not a fan of Hilary Swank. She's just never done anything for me. The main point of interest for me was Sam Rockwell. Ever since his magnificent performance in last year's Moon, I've been trying to see as many of his films as possible and they very rarely disappoint. Conviction relies on the chemistry between Swank and Rockwell though. The whole movie wouldn't be anything without the connection those two have. Swank is incredibly family driven as the aftermath of her devoting most of her life to freeing her brother takes its toll on the rest of her life and her family. Rockwell is as fantastic as ever as just a simple expression on his face seems to say more about his character than any kind of reaction could, but his emotional outbursts are just as spectacular. Before he went to prison, Kenneth Waters seemed like a family man with a warm personality that cracked a lot of jokes but flew off the handle at the drop of a hat and lost control that usually resulted in a trip downtown. Prison is tearing him apart and it shows not only in Rockwell's performance but Swank's as well.
Conviction is one of the most effective dramas of the year that delivers an impact you'll be feeling long after you leave the theater. It takes you on a roller coaster of emotions that is well worth the ride. All the chips on the table lie in the hands of Hilary Swank and Sam Rockwell while their on-screen presence alone seems to drive the film even when they're not saying anything. One of the best aspects of the film is that Betty Anne believes her brother is innocent and even when that comes into question, she doesn't want to hear any of it. Near the end of the film, it doesn't really seem to matter if Kenneth is innocent or not. Betty Anne believes it to be true and that's good enough for her. Her passion seems to be the underlying factor of this film. If you're looking for a film that feels heartfelt and genuine, then Conviction is a film you may want to look into.
On the surface, Conviction seems like a very mixed bag. There had been little to no promotion for it out here while the trailer hadn't really been attached to any recent screenings. I do recall seeing a trailer for the film one time online months ago, but that's it. Truth be told, that's usually the best way to see a film. No scene has the chance to be overplayed because you had seen the trailer however many times. Conviction is very much an independent film and is borderline nonexistent even though it had a limited release last week. The result was not only an extremely emotional and powerful film, but Conviction also features some of the strongest performances of the year.
The dramatic film jumps around in time right from the beginning. We're shown the horrific aftermath of Katharina Brow's gruesome murder and then jump back to the present day where we see Betty Anne visiting Kenneth in prison. Soon after that, we travel back into the past where we're shown the adult lives of Betty Anne and Kenneth. They're very much a part of each other's lives even when they both have families of their own to worry about. Kenneth's run ins with the law become more frequent as he seems to be picked up whenever the law is broken in Ayer, Massachusetts. Then, we jump even further back into the past during Betty Anne and Kenneth's childhood. They were very close even at that age, but they didn't live normal lives. They were stealing, trespassing, and breaking and entering at an early age. The time jumps were kind of infrequent and abrupt; they seemed to just happen at whim but provided quite a bit of background history about Betty Anne and Kenneth that was crucial to the overall story.
I'm honestly not a fan of Hilary Swank. She's just never done anything for me. The main point of interest for me was Sam Rockwell. Ever since his magnificent performance in last year's Moon, I've been trying to see as many of his films as possible and they very rarely disappoint. Conviction relies on the chemistry between Swank and Rockwell though. The whole movie wouldn't be anything without the connection those two have. Swank is incredibly family driven as the aftermath of her devoting most of her life to freeing her brother takes its toll on the rest of her life and her family. Rockwell is as fantastic as ever as just a simple expression on his face seems to say more about his character than any kind of reaction could, but his emotional outbursts are just as spectacular. Before he went to prison, Kenneth Waters seemed like a family man with a warm personality that cracked a lot of jokes but flew off the handle at the drop of a hat and lost control that usually resulted in a trip downtown. Prison is tearing him apart and it shows not only in Rockwell's performance but Swank's as well.
Conviction is one of the most effective dramas of the year that delivers an impact you'll be feeling long after you leave the theater. It takes you on a roller coaster of emotions that is well worth the ride. All the chips on the table lie in the hands of Hilary Swank and Sam Rockwell while their on-screen presence alone seems to drive the film even when they're not saying anything. One of the best aspects of the film is that Betty Anne believes her brother is innocent and even when that comes into question, she doesn't want to hear any of it. Near the end of the film, it doesn't really seem to matter if Kenneth is innocent or not. Betty Anne believes it to be true and that's good enough for her. Her passion seems to be the underlying factor of this film. If you're looking for a film that feels heartfelt and genuine, then Conviction is a film you may want to look into.
LeftSideCut (3778 KP) rated Hellbound: Hellraiser II (1988) in Movies
Nov 24, 2021
Hellbound is a sequel that stands next to it's groundbreaking predecessor as a proud equal. It's quick turnaround and it's returning crew ensure that it feels like a smooth continuation, and both films could easily be watched back to back.
The visuals go bigger and harder this time around. A longer portion of the movie is spent in the cenobites' hellish dimension, and it's a striking and otherwordly design. Once again, Pinhead and his cronies don't take up too much screentime, ensuring that they're presence is impactful. The narrative does explore the background of these antagonists a little more, but thankfully, doesn't completely destroy the mystery surrounding them, and provides an interesting plot device a bit later on.
The main villain is Dr Channard, a psychiatrist who has a dangerous obsession with the legend of the Lament Configuration. Kenneth Cranham steals the show in the role, and makes for a memorable bad guy, especially during the last half. He also has the best line - "and to think... I hesitated" - definitely a top moment in the history of horror.
Clare Higgins is another highlight, as she is in the first Hellraiser, her character delightfully more sinister than before.
Once again, Hellbound boasts some top class practical effects, contributing to its unique aesthetic, and Christopher Young absolutely smashes it out the park with another incredible music score.
Both Hellraiser and Hellbound are astonishing examples of how excellent, nightmarish, and beautiful this genre can be, and will always be hailed as high points. Great stuff.
The visuals go bigger and harder this time around. A longer portion of the movie is spent in the cenobites' hellish dimension, and it's a striking and otherwordly design. Once again, Pinhead and his cronies don't take up too much screentime, ensuring that they're presence is impactful. The narrative does explore the background of these antagonists a little more, but thankfully, doesn't completely destroy the mystery surrounding them, and provides an interesting plot device a bit later on.
The main villain is Dr Channard, a psychiatrist who has a dangerous obsession with the legend of the Lament Configuration. Kenneth Cranham steals the show in the role, and makes for a memorable bad guy, especially during the last half. He also has the best line - "and to think... I hesitated" - definitely a top moment in the history of horror.
Clare Higgins is another highlight, as she is in the first Hellraiser, her character delightfully more sinister than before.
Once again, Hellbound boasts some top class practical effects, contributing to its unique aesthetic, and Christopher Young absolutely smashes it out the park with another incredible music score.
Both Hellraiser and Hellbound are astonishing examples of how excellent, nightmarish, and beautiful this genre can be, and will always be hailed as high points. Great stuff.
LoganCrews (2861 KP) rated Wild Wild West (1999) in Movies
Nov 10, 2020
I hate the late 90s blockbuster, man... I really do. This era's tongue-in-cheek manufactured spectacle coated with pause-for-laughs cringe 'jokes' and standard-to-crappy action makes my skin crawl. This is actually much, much better than 𝘐𝘯𝘥𝘦𝘱𝘦𝘯𝘥𝘦𝘯𝘤𝘦 𝘋𝘢𝘺 but otherwise they're the exact same formula in tiring popcorn slogs though this one dared to actually have a bit of fun sometimes unlike ID so truthfully I have no idea why this one is more reviled - it just seems random to me. Yeah I have no idea why this source material was turned into confusingly sexual, boring one-note tripe but the last twenty minutes is actually kind of exciting and the effects are top-notch. Don't even lie, you think that giant steampunk spider is fucking cool too and the gadgets/costumes/sets/makeup are eye-catching too - I only wish they were all in a better movie. The two perfunctory performances from Smith and Kline are canceled out by the religious scenery-chewing of Ted Levine and this movie's MVP Kenneth Branagh but besides the title song that I'm tired of pretending doesn't slap -because it *does* - that's about where the positives end. Its only personality traits are being dumb, looking cool sometimes, and misogyny.
David McK (3185 KP) rated Thor (2011) in Movies
Sep 12, 2021
One of the earliest movies in the Marvel Cinematic Universe (MCU), - I think it's the 4th - way back in Phase 1, with what was seemingly an odd choice of director in our very own (I'm from Northern Ireland, as he is) Kenneth Branagh.
However, you can soon see why he was chosen, with this film - in particular - having a very Shakespearian feel to it, what with the whole plot of two brothers to the throne (as an aside, also the first film to leave Earth for large portions) and the whole familial drama going on ...
I also remember, prior to this, that my whole recollection of the character came from the old 70s/80s 'The Incredible Hulk' tv show and mini movies, where Thor was more-or-less somewhat similar to Jekyll and Hyde, in that he shared a body with the lead character ('who-so-ever be so worthy') of the crippled doctor Donald Blake - a name dropped in this movie as an Easter egg, as Jane Foster's ex boyfriend, and - temporarily - borrowed by this version of Thor.
Unlike many of the later MCU movies, this has a surprisingly small finale, and the scene with Thor breaking into the SHIELD camp in his attempt to recover Mjolnir is still the best bit of the whole thing.
However, you can soon see why he was chosen, with this film - in particular - having a very Shakespearian feel to it, what with the whole plot of two brothers to the throne (as an aside, also the first film to leave Earth for large portions) and the whole familial drama going on ...
I also remember, prior to this, that my whole recollection of the character came from the old 70s/80s 'The Incredible Hulk' tv show and mini movies, where Thor was more-or-less somewhat similar to Jekyll and Hyde, in that he shared a body with the lead character ('who-so-ever be so worthy') of the crippled doctor Donald Blake - a name dropped in this movie as an Easter egg, as Jane Foster's ex boyfriend, and - temporarily - borrowed by this version of Thor.
Unlike many of the later MCU movies, this has a surprisingly small finale, and the scene with Thor breaking into the SHIELD camp in his attempt to recover Mjolnir is still the best bit of the whole thing.
BankofMarquis (1832 KP) rated A Haunting in Venice (2023) in Movies
Sep 30, 2023
Well Crafted
Famed Agatha Christie Belgian Sleuth Hercule Poirot is a familiar figure on the screen - both large and small. He has been played numerous times by numerous performers, each one riffing on the famed mustached Detective and his “little grey cells” and and any performer who takes on this character must bear the weight of those who played the role before him.
In A HAUNTING IN VENICE, Kenneth Branagh’s 3rd go around as Poirot, Branagh has finally shaken off the Ghosts of Poirot’s Past and has made the part his own.
Based on the 1969 novel by Agatha Christie, HALLOWE’EN PARTY, Branagh (who also directed the film) imbues horror elements and the macabre to the whoddunit detective genre - largely to positive results.
As stated above, Branagh has finally made this version of Hercule Poirot his own, giving the detective (who, at the beginning of this film/novel, is in self-imposed retirement) some self-doubt and self-retrospection which helps drive the story, plot and intrigue of the story.
Branagh has populated this murder-mystery with strong performers from recent Oscar-winner Michelle Yeoh (EVERYTHING, EVERYWHERE, ALL AT ONCE) to Jamie Dornan (Branagh’s BELFAST) to YELLOWSTONE’s Kelly Reilly. Each brings mystery and star power to their roles.
Special notice needs to be made of Comedienne Tina Fey who is tackling her first non-comedic role and largely sticks the landing. As a friend of the Detective from NYC, Fey more than holds her own in the many, many scenes she shares with Branagh. As is often the case with comediennes, there is more to be mined in Fey’s acting chops and here’s hoping she dives deeper into more serious roles.
Director Branagh smartly uses the setting and mood of this piece to craft a film experience that is eerie, spooky and claustrophobic. While it is being billed as a HORROR film, it is not. It is a tense, taught, macabre film, filled with fish-eye lens and blurred-focus shots, which makes the set design and cinematography complimentary to the story.
Which is important for this is, in the end, a drawing room murder-mystery and the audience’s enjoyment of this film will be in direct alignment with how the mystery plays out…and this mystery plays out well (enough). What it lacks in surprises, it more than makes up for in mood, atmosphere and character
And that makes for a very entertaining time at the Cinema.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis).
In A HAUNTING IN VENICE, Kenneth Branagh’s 3rd go around as Poirot, Branagh has finally shaken off the Ghosts of Poirot’s Past and has made the part his own.
Based on the 1969 novel by Agatha Christie, HALLOWE’EN PARTY, Branagh (who also directed the film) imbues horror elements and the macabre to the whoddunit detective genre - largely to positive results.
As stated above, Branagh has finally made this version of Hercule Poirot his own, giving the detective (who, at the beginning of this film/novel, is in self-imposed retirement) some self-doubt and self-retrospection which helps drive the story, plot and intrigue of the story.
Branagh has populated this murder-mystery with strong performers from recent Oscar-winner Michelle Yeoh (EVERYTHING, EVERYWHERE, ALL AT ONCE) to Jamie Dornan (Branagh’s BELFAST) to YELLOWSTONE’s Kelly Reilly. Each brings mystery and star power to their roles.
Special notice needs to be made of Comedienne Tina Fey who is tackling her first non-comedic role and largely sticks the landing. As a friend of the Detective from NYC, Fey more than holds her own in the many, many scenes she shares with Branagh. As is often the case with comediennes, there is more to be mined in Fey’s acting chops and here’s hoping she dives deeper into more serious roles.
Director Branagh smartly uses the setting and mood of this piece to craft a film experience that is eerie, spooky and claustrophobic. While it is being billed as a HORROR film, it is not. It is a tense, taught, macabre film, filled with fish-eye lens and blurred-focus shots, which makes the set design and cinematography complimentary to the story.
Which is important for this is, in the end, a drawing room murder-mystery and the audience’s enjoyment of this film will be in direct alignment with how the mystery plays out…and this mystery plays out well (enough). What it lacks in surprises, it more than makes up for in mood, atmosphere and character
And that makes for a very entertaining time at the Cinema.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis).