Search
Search results
BankofMarquis (1832 KP) rated A Fish Called Wanda (1988) in Movies
Jul 2, 2020
A Jolly Good Time
A member of my family mentioned when discussing the 1988 John Cleese comedy A FISH CALLED WANDA that you can tell much about a person over what part of this film that you like the most. Do you like:
a). The John Cleese/Jamie Lee Curtis love story
b). The "caper"
c). The beleaguered, unsuccessful hit-man Ken
d). The old lady and her 3 dogs
e). Kevin Kline as Otto
For me, that's easy - ALL OF IT! I find that A FISH CALLED WANDA is a very funny, richly acted comedy/caper that brings forth 4 characters that are easy to spend 2 hours with. Starting with John Cleese as Barrister Archie Leach. Cleese conceived, wrote, starred-in and (at times) directed this film and his "British humor" (honed from years as a member of the MONTY PYTHON comedy troupe) is in full force here. He has a reserved appearance about him that covers a wild man underneath yearning to break free.
Jamie Lee Curtis is quite good as the center of the film, Wanda Gershwitz, a cunning conman who will stop at nothing - and step over everyone - to get what she wants. I find that Curtis is under-rated as an actress and a comedienne and this picture shows that she can hold her own against 3 comedy greats at the top of their game.
The 2nd member of the Monty Python troupe to appear in this film is the remarkable Michael Palin as hapless hit-man, Ken. He becomes increasingly frustrated and frantic -and increasingly funny - as he attempts to complete his assignment throughout the course of this film.
But...the real star of this film...and the actor/character that steals the film away from everyone else...is Kevin Kline's Oscar winning performance as Otto, Wanda's erstwhile love who has a very high opinion of himself. It is rare that a comedic performance wins an Oscar - Kline's win is the the last one to do so - but it is easy to see why the Academy decided to reward Kline for it is a committed performance that is wild, wacky and over-the-top, but not overtly so. Kline has been very good in many other pictures/performances before and after this film, but he never reached the height that he reached in this film.
The film has veteran director Charles Crichton listed as Director with Cleese listed as co-Director (though Cleese insisted that Crichton did all the work and he only put his name on it to assuage the fears of studio executives over Crichton's advanced age). Well...Crichton does a wonderful job of letting the lunacy explode on the scene while keeping a lid on it and moving the action along at a brisk pace.
Wanda is one of those films that people remember fondly, but do not revisit. I would highly recommend you do, it's a jolly good time.
Letter Grade A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
a). The John Cleese/Jamie Lee Curtis love story
b). The "caper"
c). The beleaguered, unsuccessful hit-man Ken
d). The old lady and her 3 dogs
e). Kevin Kline as Otto
For me, that's easy - ALL OF IT! I find that A FISH CALLED WANDA is a very funny, richly acted comedy/caper that brings forth 4 characters that are easy to spend 2 hours with. Starting with John Cleese as Barrister Archie Leach. Cleese conceived, wrote, starred-in and (at times) directed this film and his "British humor" (honed from years as a member of the MONTY PYTHON comedy troupe) is in full force here. He has a reserved appearance about him that covers a wild man underneath yearning to break free.
Jamie Lee Curtis is quite good as the center of the film, Wanda Gershwitz, a cunning conman who will stop at nothing - and step over everyone - to get what she wants. I find that Curtis is under-rated as an actress and a comedienne and this picture shows that she can hold her own against 3 comedy greats at the top of their game.
The 2nd member of the Monty Python troupe to appear in this film is the remarkable Michael Palin as hapless hit-man, Ken. He becomes increasingly frustrated and frantic -and increasingly funny - as he attempts to complete his assignment throughout the course of this film.
But...the real star of this film...and the actor/character that steals the film away from everyone else...is Kevin Kline's Oscar winning performance as Otto, Wanda's erstwhile love who has a very high opinion of himself. It is rare that a comedic performance wins an Oscar - Kline's win is the the last one to do so - but it is easy to see why the Academy decided to reward Kline for it is a committed performance that is wild, wacky and over-the-top, but not overtly so. Kline has been very good in many other pictures/performances before and after this film, but he never reached the height that he reached in this film.
The film has veteran director Charles Crichton listed as Director with Cleese listed as co-Director (though Cleese insisted that Crichton did all the work and he only put his name on it to assuage the fears of studio executives over Crichton's advanced age). Well...Crichton does a wonderful job of letting the lunacy explode on the scene while keeping a lid on it and moving the action along at a brisk pace.
Wanda is one of those films that people remember fondly, but do not revisit. I would highly recommend you do, it's a jolly good time.
Letter Grade A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (965 KP) rated State of Play (2009) in Movies
Aug 14, 2019
In the corridors of the nation’s capital, Washington D.C. alliances and wheeling and dealing are the name of the game. With billions if not trillions of dollars hinging on new laws and policy, corporations clearly have an interest in which way the political winds are leaning and how it will affect their all important bottom line.
In the political thriller “State of Play”, Director Kevin MacDonald has combined a stellar cast with a strong script from Tony Gilroy, Billy Ray, and Matthew Michael Carnahan to craft one of the best dramas since Gilroy’s “Michael Clayton”.
When the lead researcher of Congressman Stephen Collins (Ben Affleck), dies in an accident, it is a devastating blow to the young Congressman as he prepares for a series of hearings intended to cull the growth of a private security firm.
What is at first listed as an accident raises suspicion in veteran news reporter Cal McAffrey (Russell Crowe), who has had a long friendship, with Collins. Despite tension in recent years, Collins turns to Cal when it is revealed that he had an affair with his researcher. As Cal looks into the story he is under pressure from his editor (Helen Mirren), to deliver a story to keep the papers new owners happy. If this was not bad enough, Cal is also dogged by an online reporter for the paper named Della (Rachael McAdams), who is looking to make a name for herself at the paper.
Cal soon learns that the assistant was killed in what was made to look like an accident, and that a shooting incident that occurred prior to the death may be related to the murder.
Cal teams up with Della and soon learns that some very big players may be involved and that they will stop at nothing to protect their secret.
In a race against time, Cal and Della must get to the bottom of the mystery and stay alive. Unsure who to trust and which way their leads will follow, Cal and Della look for the answers that unaware that the quest they have undertaken will affect the halls of power as well as the very nation itself.
“State of Play” is a very tight thriller that is filled with twists and turns. The characters are interesting and well developed and the performances are first rate. Crowe is powerful as the determined Cal and works well with Affleck and Adams. Robin Wright Penn and Helen Mirren also give very strong performances.
The story of the film seems ripped from the headlines and has an eerie sense of reality to it, and works much better than “The International” attempted to do with its conspiracy premise.
While I have avoided as many spoilers as I could, suffice it to say that the film does have a deep plot that twists and turns to a rewarding conclusion and will keep your attention. I would hope that the fine work in this film is not forgotten when the Oscars come up next.
In the political thriller “State of Play”, Director Kevin MacDonald has combined a stellar cast with a strong script from Tony Gilroy, Billy Ray, and Matthew Michael Carnahan to craft one of the best dramas since Gilroy’s “Michael Clayton”.
When the lead researcher of Congressman Stephen Collins (Ben Affleck), dies in an accident, it is a devastating blow to the young Congressman as he prepares for a series of hearings intended to cull the growth of a private security firm.
What is at first listed as an accident raises suspicion in veteran news reporter Cal McAffrey (Russell Crowe), who has had a long friendship, with Collins. Despite tension in recent years, Collins turns to Cal when it is revealed that he had an affair with his researcher. As Cal looks into the story he is under pressure from his editor (Helen Mirren), to deliver a story to keep the papers new owners happy. If this was not bad enough, Cal is also dogged by an online reporter for the paper named Della (Rachael McAdams), who is looking to make a name for herself at the paper.
Cal soon learns that the assistant was killed in what was made to look like an accident, and that a shooting incident that occurred prior to the death may be related to the murder.
Cal teams up with Della and soon learns that some very big players may be involved and that they will stop at nothing to protect their secret.
In a race against time, Cal and Della must get to the bottom of the mystery and stay alive. Unsure who to trust and which way their leads will follow, Cal and Della look for the answers that unaware that the quest they have undertaken will affect the halls of power as well as the very nation itself.
“State of Play” is a very tight thriller that is filled with twists and turns. The characters are interesting and well developed and the performances are first rate. Crowe is powerful as the determined Cal and works well with Affleck and Adams. Robin Wright Penn and Helen Mirren also give very strong performances.
The story of the film seems ripped from the headlines and has an eerie sense of reality to it, and works much better than “The International” attempted to do with its conspiracy premise.
While I have avoided as many spoilers as I could, suffice it to say that the film does have a deep plot that twists and turns to a rewarding conclusion and will keep your attention. I would hope that the fine work in this film is not forgotten when the Oscars come up next.
Bob Mann (459 KP) rated Peaks and Valleys (2020) in Movies
Apr 29, 2021
Acting of the two leads (2 more)
Cinematography of the beautiful Alaskan wilderness
Script and direction both good
Two strangers forced to over-winter in Alaskan wilderness
In “Peaks and Valleys”, Jack (Kevin T. Bennett) is living as a recluse in a remote cabin in Alaska. His solitude is rudely interrupted by a plane which drops a naked, trussed-up and drugged-up girl into his lake. Traumatised by her experiences, the girl (Bailey, played by Kitty Mahoney) is unwilling to trust the man. But trust him she must, since they are in the Alaskan wilderness and Jack tells her that the supply plane might not come for a couple of months.
How and why was Bailey dumped from the plane? Why is Jack living all alone in the wilderness, and why is he packing a hand-gun? As tempers fray, can the pair survive each other’s company? All intriguing questions that demand answers.
Positives:
- Although it’s only a low-budget Indie-film, it has an intriguing premise that packs a punch above its weight. Since although the story is told in a linear way, the script includes ‘asides’ – told either through imagined conversations or dreams – that create a jigsaw of questions for the viewer. And the dynamic between Jack and Bailey develops in an interesting way. Overall, I was intrigued to see how the questions raised would pan out.
- I’m often disappointed that the acting in these types of Indie films is below par. To a large degree, this is not the case here. Kevin Bennett is very believable as the crusty old backwoodsman. And Kitty Mahoney, in her movie debut, delivers a smashing performance. She has real screen-presence. I’m not sure if this was a “one off” for her, or if she intends to pursue an acting career: but I really hope it’s the latter.
- Another star of the show is the dramatic Alaskan landscapes, lovingly photographed by cinematographer Bryan Pentecostes. Some of the shots are just “double-WOW”! The movie is a wonderful piece of PR for the Alaskan Tourist Board, for sure.
- Michael Dillon’s script avoids clichés and lazy wins. It would be an easy plot point to see the vulnerable young Bailey sexually exploited by the older man. But very much on topic, following the debate around “Promising Young Woman” and earning the film a welcome #notallmen hashtag, Jack makes it abundantly clear that this is not a route we’re going to go down.
- The clever script also has some nice lines that resonate: “We can’t change the wrong that’s been done to us.” growls Jack, “But we’re damned if we don’t let it change us”. But amongst the philosophical sound-bytes, the script also finds time to have some light-hearted fun at times. A nice scene to emphasise the growing relationship and mutual respect between the pair is when Jack teaches Bailey to ice-fish. Jack examines Bailey’s amateurish efforts. “It ain’t the prettiest hole, but I’d stick my pole in it” he says. “I bet you say that to all the girls” quips back Bailey.
- I enjoyed the music by Evan Evans very much too. There’s also a nice song over the end credits by Gregory Alan Isakov as well.
- Finally, a special shout-out to Garrett Martin for some very well done and quease-inducing injury make-up.
Negatives:
- For all the good aspects about the script, there are a few times, particularly early on in Jack and Bailey’s relationship, where I found the exchanges between them forced and unconvincing. This was sometimes down to the script, and sometimes down to over-stretching the acting abilities of the cast.
- The dramatic finale – although surprising and satisfying – relies on some rather unbelievable timing.
Summary Thoughts: When I start watching a low-budget Indie film, I tend to set my expectations accordingly. Often the acting is naff; the script will be hand-gnawingly awful; and/or the production values are found wanting. I was really pleasantly surprised that this movie ticked the “none of the above” box. And yes, there were a few rough edges here and there, but I’ve seen multi-million pound Hollywood blockbusters that were far worse. Michael Burns has delivered a tight and intriguing movie that sensibly sticks to a 96 minute run time, such that I was never bored.
I really enjoyed this one and recommend it. And you only need to fork out a few quid to rent it on Amazon. If you do, I’d be interested in your views.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/04/29/peaks-and-valleys-two-strangers-forced-to-over-winter-in-the-alaskan-wilderness/. Thanks).
How and why was Bailey dumped from the plane? Why is Jack living all alone in the wilderness, and why is he packing a hand-gun? As tempers fray, can the pair survive each other’s company? All intriguing questions that demand answers.
Positives:
- Although it’s only a low-budget Indie-film, it has an intriguing premise that packs a punch above its weight. Since although the story is told in a linear way, the script includes ‘asides’ – told either through imagined conversations or dreams – that create a jigsaw of questions for the viewer. And the dynamic between Jack and Bailey develops in an interesting way. Overall, I was intrigued to see how the questions raised would pan out.
- I’m often disappointed that the acting in these types of Indie films is below par. To a large degree, this is not the case here. Kevin Bennett is very believable as the crusty old backwoodsman. And Kitty Mahoney, in her movie debut, delivers a smashing performance. She has real screen-presence. I’m not sure if this was a “one off” for her, or if she intends to pursue an acting career: but I really hope it’s the latter.
- Another star of the show is the dramatic Alaskan landscapes, lovingly photographed by cinematographer Bryan Pentecostes. Some of the shots are just “double-WOW”! The movie is a wonderful piece of PR for the Alaskan Tourist Board, for sure.
- Michael Dillon’s script avoids clichés and lazy wins. It would be an easy plot point to see the vulnerable young Bailey sexually exploited by the older man. But very much on topic, following the debate around “Promising Young Woman” and earning the film a welcome #notallmen hashtag, Jack makes it abundantly clear that this is not a route we’re going to go down.
- The clever script also has some nice lines that resonate: “We can’t change the wrong that’s been done to us.” growls Jack, “But we’re damned if we don’t let it change us”. But amongst the philosophical sound-bytes, the script also finds time to have some light-hearted fun at times. A nice scene to emphasise the growing relationship and mutual respect between the pair is when Jack teaches Bailey to ice-fish. Jack examines Bailey’s amateurish efforts. “It ain’t the prettiest hole, but I’d stick my pole in it” he says. “I bet you say that to all the girls” quips back Bailey.
- I enjoyed the music by Evan Evans very much too. There’s also a nice song over the end credits by Gregory Alan Isakov as well.
- Finally, a special shout-out to Garrett Martin for some very well done and quease-inducing injury make-up.
Negatives:
- For all the good aspects about the script, there are a few times, particularly early on in Jack and Bailey’s relationship, where I found the exchanges between them forced and unconvincing. This was sometimes down to the script, and sometimes down to over-stretching the acting abilities of the cast.
- The dramatic finale – although surprising and satisfying – relies on some rather unbelievable timing.
Summary Thoughts: When I start watching a low-budget Indie film, I tend to set my expectations accordingly. Often the acting is naff; the script will be hand-gnawingly awful; and/or the production values are found wanting. I was really pleasantly surprised that this movie ticked the “none of the above” box. And yes, there were a few rough edges here and there, but I’ve seen multi-million pound Hollywood blockbusters that were far worse. Michael Burns has delivered a tight and intriguing movie that sensibly sticks to a 96 minute run time, such that I was never bored.
I really enjoyed this one and recommend it. And you only need to fork out a few quid to rent it on Amazon. If you do, I’d be interested in your views.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/04/29/peaks-and-valleys-two-strangers-forced-to-over-winter-in-the-alaskan-wilderness/. Thanks).
Bob Mann (459 KP) rated Let Him Go (2020) in Movies
Dec 23, 2020
Feud for Thought
After a family tragedy for the Blackledge family, grandparents George (Kevin Costner) and Margaret (Diane Lane) are left to bring up baby Jimmy (Bram and Otto Hornung) with mother/daughter-in-law Lorna (Kayli Carter). But a few years later, Lorna marries bad-un Donnie Weboy (Will Brittain) and disappears back to Donnie's hillbilly extended family in the wilds of North Dakota, led by the fearsome Blanche Weboy (Lesley Manville). Fearing for the child's wellbeing, Margaret drags retired Sheriff George on a dangerous journey to rescue the child.
There are strong similarities in this story with a sub-plot of the excellent "Ozark", where the psychopathic Darlene Snell (Lisa Emery) is intent on having a child to grow up with on her remote ranch. The sense of tension there is recreated here, exacerbated by the movie's extremely slow (read "glacial") pace in its early stages. It's the same sort of rising dread that I felt with "Nocturnal Animals". This reaches its peak at a tense standoff over lamb chops at the Weboy ranch, but we are probably half-way into the film by then.
The slow pace however is broken by a couple of extremely violent scenes that earn the movie its UK-15 certificate. One (no spoilers here!) harks back to another Kevin Costner blockbuster where he was a bit luckier! And the finale turns a slightly sleepy tale of "two old folks" into an 'all guns blazing' action western that's highly unexpected. Although you could argue that this is tonally extremely uneven, it works and makes the movie a lot more memorable than it otherwise would be.
The standout leading performance here is the one from Diane Lane as the mentally tortured Granny pursuing her convictions across the country. Here writer/director Thomas Bezucha gives the character full rein. It's a memorable 'strong female' part, that would have been dominated by the male lead in the writing of films a few years back. Lane delivers a dramatic and rock-solid performance that has Oscar nomination written all over it.
I'm also a big fan of Kevin Costner, not just because he's a solid and reliable actor over many years. I always remember him gamely appearing as "The Postman"/'propeller-guy' in Billy Crystal's hilarious montage opening for the 70th Academy Awards. Anyhow, here he has his meatiest dramatic role in many years, and delivers fully on it. Top job, although I suspect this may not be his year for his elusive Best Actor award.
Finally, rounding out the Oscar hopefuls is the brilliant Lesley Manville as Blanche Weboy. It's a dream of a role for the Brighton-born star, nominated of course for the Best Supporting Actress two years ago for "Phantom Thread". And she is genuinely chilling here, firing on all cylinders like some sort of deranged Bette Davis on speed. She's used sparingly in the movie, but that makes her scenes all the more memorable. Another nomination perhaps? I'd predict so, yes.
I found this to be an uncomfortable watch, since I found myself in a moral quandary with the storyline. It's clear that Margaret is genuinely concerned for the safety of Jimmy (and less so, Lorna). Yet, what she is ultimately prepared to do is consider child abduction, when the law if probably on the side of the other party. Sure, the lifestyle and attitudes of the Weboys are alien to this more traditional "Granny". But although Blanche rules with a Victorian-level of grit, isn't she - at least before any of her more vicious tendencies emerge - entitled to do that? The film firmly roots itself behind the Blackledge's as "the good guys", but the script cleverly has you questioning that at various points,
Two technical categories in "Let Him Go" are also worthy of note. The cinematography is by Guy Godfree, and the sweeping vistas of Montana and North Dakota (actually Alberta in Canada!) are gloriously delivered. And the music by Michael Giacchino - one of my favourite composers - is cello-heavy and fitting for the sombre storyline. I always assess the quality of a score by whether I annoy the cinema cleaners by sitting until the last of the end credits have rolled, and this is one I did that to.
As the last movie I see before Christmas, "Let Him Go" is not exactly a feelgood festive offering. It's a well-crafted and thoughtful story, but not one to make you feel good inside, for the reasons outlined above. If you are a movie-lover though, then it's an interesting watch, if only for the fine acting performances on offer.
(For the full graphical review, please check out the "Bob the Movie Man" review on the web here - https://bob-the-movie-man.com/2020/12/23/let-him-go-is-not-a-joyous-affair-but-delivers-oscar-worthy-performances/. Thanks.)
There are strong similarities in this story with a sub-plot of the excellent "Ozark", where the psychopathic Darlene Snell (Lisa Emery) is intent on having a child to grow up with on her remote ranch. The sense of tension there is recreated here, exacerbated by the movie's extremely slow (read "glacial") pace in its early stages. It's the same sort of rising dread that I felt with "Nocturnal Animals". This reaches its peak at a tense standoff over lamb chops at the Weboy ranch, but we are probably half-way into the film by then.
The slow pace however is broken by a couple of extremely violent scenes that earn the movie its UK-15 certificate. One (no spoilers here!) harks back to another Kevin Costner blockbuster where he was a bit luckier! And the finale turns a slightly sleepy tale of "two old folks" into an 'all guns blazing' action western that's highly unexpected. Although you could argue that this is tonally extremely uneven, it works and makes the movie a lot more memorable than it otherwise would be.
The standout leading performance here is the one from Diane Lane as the mentally tortured Granny pursuing her convictions across the country. Here writer/director Thomas Bezucha gives the character full rein. It's a memorable 'strong female' part, that would have been dominated by the male lead in the writing of films a few years back. Lane delivers a dramatic and rock-solid performance that has Oscar nomination written all over it.
I'm also a big fan of Kevin Costner, not just because he's a solid and reliable actor over many years. I always remember him gamely appearing as "The Postman"/'propeller-guy' in Billy Crystal's hilarious montage opening for the 70th Academy Awards. Anyhow, here he has his meatiest dramatic role in many years, and delivers fully on it. Top job, although I suspect this may not be his year for his elusive Best Actor award.
Finally, rounding out the Oscar hopefuls is the brilliant Lesley Manville as Blanche Weboy. It's a dream of a role for the Brighton-born star, nominated of course for the Best Supporting Actress two years ago for "Phantom Thread". And she is genuinely chilling here, firing on all cylinders like some sort of deranged Bette Davis on speed. She's used sparingly in the movie, but that makes her scenes all the more memorable. Another nomination perhaps? I'd predict so, yes.
I found this to be an uncomfortable watch, since I found myself in a moral quandary with the storyline. It's clear that Margaret is genuinely concerned for the safety of Jimmy (and less so, Lorna). Yet, what she is ultimately prepared to do is consider child abduction, when the law if probably on the side of the other party. Sure, the lifestyle and attitudes of the Weboys are alien to this more traditional "Granny". But although Blanche rules with a Victorian-level of grit, isn't she - at least before any of her more vicious tendencies emerge - entitled to do that? The film firmly roots itself behind the Blackledge's as "the good guys", but the script cleverly has you questioning that at various points,
Two technical categories in "Let Him Go" are also worthy of note. The cinematography is by Guy Godfree, and the sweeping vistas of Montana and North Dakota (actually Alberta in Canada!) are gloriously delivered. And the music by Michael Giacchino - one of my favourite composers - is cello-heavy and fitting for the sombre storyline. I always assess the quality of a score by whether I annoy the cinema cleaners by sitting until the last of the end credits have rolled, and this is one I did that to.
As the last movie I see before Christmas, "Let Him Go" is not exactly a feelgood festive offering. It's a well-crafted and thoughtful story, but not one to make you feel good inside, for the reasons outlined above. If you are a movie-lover though, then it's an interesting watch, if only for the fine acting performances on offer.
(For the full graphical review, please check out the "Bob the Movie Man" review on the web here - https://bob-the-movie-man.com/2020/12/23/let-him-go-is-not-a-joyous-affair-but-delivers-oscar-worthy-performances/. Thanks.)
Chris Sawin (602 KP) rated Dante's Inferno (2010) in Movies
Jun 22, 2019 (Updated Jun 23, 2019)
A commercial for the Dante's Inferno video game aired during Super Bowl XLIV, which gave viewers the impression that the game would be incredibly reminiscent of games like Devil May Cry and God of War. Although I never played the game, Dante's Inferno: An Animated Epic was sent to me by the Amazon Vine program. My expectations weren't very high and that seemed to pay off in the long run. The animated feature takes the Batman: Gotham Knight approach where six different animation directors take hold of the film, but Dante's Inferno tells one semi-coherent story.
The film surely has no issue with showing graphic violence, gore, or nudity as there rarely isn't a moment in the 77 minute feature where buckets of blood aren't falling from the sky or where Dante's beloved Beatrice isn't exposing her rather well-endowed set of breasts. The changes in animation seemed rather infrequent and drastic at times while at others it felt a bit more natural. The voice acting is pretty top notch as the film utilizes voice actor veterans such as Mark Hamill, Steve Blum, and Kevin Michael Richardson.
Dante's descent through the nine circles of hell was unintentionally humorous at times though.; the main example being when he's fighting off and fleeing from the army of dead babies in Limbo. Also, his father accepting Lucifer's offer to work for him in exchange for all the gold he desired and the slaying of his mortal son wasn't surprising, but the fact that his mouth now looked like female genitalia was. Certain things just didn't add up at times. In the end, Dante's Inferno: An Animated Epic isn't terrible but isn't fantastic either. It's not worth hunting down specifically, but is worth sitting through on a rainy day afternoon or something.
The only special features included on the DVD are the EA game trailer and animatics for five scenes in the film.
For those interested in which animation studio did what, here they are in order:
Film Roman (American animation studio)
Manglobe (Samurai Champloo) picks up when Dante enters Limbo (directed by Shuko Mirase who did Ergo Proxy and Witch Hunter Robin, easily the best out of the bunch)
Dongwoo Animation handles the next four circles of Hell (unfortunately)
JM Animation steps in when Virgil and Dante reach the City of Dis
The final circle is handled by Production I.G.
The film surely has no issue with showing graphic violence, gore, or nudity as there rarely isn't a moment in the 77 minute feature where buckets of blood aren't falling from the sky or where Dante's beloved Beatrice isn't exposing her rather well-endowed set of breasts. The changes in animation seemed rather infrequent and drastic at times while at others it felt a bit more natural. The voice acting is pretty top notch as the film utilizes voice actor veterans such as Mark Hamill, Steve Blum, and Kevin Michael Richardson.
Dante's descent through the nine circles of hell was unintentionally humorous at times though.; the main example being when he's fighting off and fleeing from the army of dead babies in Limbo. Also, his father accepting Lucifer's offer to work for him in exchange for all the gold he desired and the slaying of his mortal son wasn't surprising, but the fact that his mouth now looked like female genitalia was. Certain things just didn't add up at times. In the end, Dante's Inferno: An Animated Epic isn't terrible but isn't fantastic either. It's not worth hunting down specifically, but is worth sitting through on a rainy day afternoon or something.
The only special features included on the DVD are the EA game trailer and animatics for five scenes in the film.
For those interested in which animation studio did what, here they are in order:
Film Roman (American animation studio)
Manglobe (Samurai Champloo) picks up when Dante enters Limbo (directed by Shuko Mirase who did Ergo Proxy and Witch Hunter Robin, easily the best out of the bunch)
Dongwoo Animation handles the next four circles of Hell (unfortunately)
JM Animation steps in when Virgil and Dante reach the City of Dis
The final circle is handled by Production I.G.
Gareth von Kallenbach (965 KP) rated Elvis & Nixon (2016) in Movies
Aug 6, 2019
Elvis Presley has always been a mystery to me. I never understood the fascination around him and the length at which his fans adore him. Growing up in the south, his image and legend permeated throughout the culture and made it impossible to criticize him or his music. He was infallible. Nixon, on the other hand, is universally loathed for having a Presidential administration built on division and corruption. Through one bold idea, on the part of Presley, they cross paths. Elvis and Nixon, sounds as though it would be perfect for an 80s sitcom, however, the reality of this interaction is put on display through this film. In total, the film is fun in that it gives a bit of insight as to what their interaction may have been like, given their personalities and styles, however, there is a lack of depth with anyone in the film. Michael Shannon’s (Midnight Special, Man of Steel) portrayal of Elvis comes off as wooden and lacking any personality.
I felt as though I was watching an impersonator on screen rather an actor portraying a character. Kevin Spacey (House of Cards) plays a strong Nixon in which you feel a little bit of sympathy for the President considering the circumstances that he finds himself in toward the end of his first term. Unfortunately, due to his character Frank Underwood on House of Cards, audiences will feel as though it is President Underwood playing Nixon. There isn’t much space between the two characters that he plays. There also isn’t much space between Elvis and Nixon with their approach to social ills and the American landscape.
There is very little this film offers other than an imagining of what possibly took place due to now recordings of their meeting other than a photo. In that sense, it is an interesting “what if” piece. The imagination of the filmmakers allows us to question who these two men and the circumstances that faced America during 1971. Although provocative in its approach, it doesn’t allow for much growth or ability to connect with any of the characters. It has its fun and funny moments, which will keep audiences interested, but nothing that will have them talking about the film well after they have seen it. Through the portrayals by Shannon and Spacey, I find myself liking Nixon a little more and hating Elvis a little less.
I felt as though I was watching an impersonator on screen rather an actor portraying a character. Kevin Spacey (House of Cards) plays a strong Nixon in which you feel a little bit of sympathy for the President considering the circumstances that he finds himself in toward the end of his first term. Unfortunately, due to his character Frank Underwood on House of Cards, audiences will feel as though it is President Underwood playing Nixon. There isn’t much space between the two characters that he plays. There also isn’t much space between Elvis and Nixon with their approach to social ills and the American landscape.
There is very little this film offers other than an imagining of what possibly took place due to now recordings of their meeting other than a photo. In that sense, it is an interesting “what if” piece. The imagination of the filmmakers allows us to question who these two men and the circumstances that faced America during 1971. Although provocative in its approach, it doesn’t allow for much growth or ability to connect with any of the characters. It has its fun and funny moments, which will keep audiences interested, but nothing that will have them talking about the film well after they have seen it. Through the portrayals by Shannon and Spacey, I find myself liking Nixon a little more and hating Elvis a little less.
Bob Mann (459 KP) rated Nobody (2021) in Movies
Jun 9, 2021
Bob Odenkirk (1 more)
A fun, adrenaline-fuelled script
What Kevin McAllister did once all grown up
The "Nobody" in question is Hutch Mansell (Bob Odenkirk) who lives a humdrum suburban life: a 9-to-5 managerial job at his in-laws manufacturing plant; distant wife (Connie Nielsen); two kids, Blake (Gage Munroe) and Abby (Paisley Cadorath); an elderly father (Christopher Lloyd) in a local care home. Basically, the Mansell's are all living the American dream, but all subject to the monotonous grind of that daily life for week after week. That all changes in the middle of the night after Hutch confronts two bungling burglars and - in the full gaze of his son - 'wimps out' on taking action. All the silent rage and embarrassment has to go somewhere, and it does - on a late night bus ride; an event that sets off a sequence of increasingly bloody encounters!
Positives:
- Bob Odenkirk is charismatically dull! His character could be compared with that of Christian Wolff in 2016's "The Accountant". But in that movie, Ben Affleck was just dull dull! Here Odenkirk brings his character to life in a truly wonderful and sparkly way.
- The movie is a hyper-violent but adrenaline-fuelled joy ride. There's a slight lull after the initial burglary, but then it's a downhill bobsleigh ride with no brakes from there to the end. It comes as no surprise that the writer, Derek Kolstad, is the guy behind the John Wick franchise. The script has moments of black comedy that made me laugh out loud a good few times.
- The editing here (by Evan Schiff and William Yeh) is very slick indeed, most noticeably so in the many fight scenes. The one on the bus could be pulled apart as a template for a film school lesson.
Negatives:
- I've very little to add here. Yes, it's a rather shallow story, but I found it a hugely entertaining rush of a movie. However the intensity of the violence will not be for everyone. The lady a few seats along from me had her hands over her eyes for at least 75% of the movie I reckon.
- I wasn't clear where the character played by RZA fitted into the mix. Having (post film) seen the cast list, I'm even more confused!
Additional notes:
- There is a post credit scene in this one, shortly into the end credits, so don't dive for the doors too quickly if you want to see it. That being said, it doesn't really make much sense (why are they doing this?) and it isn't particularly funny either. So if you did miss it, then don't sweat about it!
- This is a movie that I knew virtually nothing about on going into it. Which is the best way to see it. As such, it's worth NOT watching the trailer, and going in on that basis if you can.
Summary Thoughts on "Nobody": It's a pretty shallow plot.... but it's also bloody good fun! I expected this to follow the well worn road of classic "revenge" movies - like "Death Wish" or "Taken" - but was pleasantly surprised that it didn't. A better comparison might be Michael Douglas's "Falling Down", but with the central character having more heart.
There are lots of nods to sequences from other movies in here: "Home Alone" (for obvious reasons!); "Patriot Games" and "The Equalizer" came to my mind. And the finale reminded me strongly of the anarchic chaos of 2016's "Free Fire".
Intellectual it ain't. But provided you can stomach the Tom and Jerry style violence, and suspend your belief at the punishment Hutch can take without hospital treatment, then "Nobody" ticks all the boxes for a fun night out at the flicks.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/06/09/nobody-what-kevin-mcallister-did-once-all-grown-up/. There's also a new Tiktok channel at onemannsmovies. Thanks).
Positives:
- Bob Odenkirk is charismatically dull! His character could be compared with that of Christian Wolff in 2016's "The Accountant". But in that movie, Ben Affleck was just dull dull! Here Odenkirk brings his character to life in a truly wonderful and sparkly way.
- The movie is a hyper-violent but adrenaline-fuelled joy ride. There's a slight lull after the initial burglary, but then it's a downhill bobsleigh ride with no brakes from there to the end. It comes as no surprise that the writer, Derek Kolstad, is the guy behind the John Wick franchise. The script has moments of black comedy that made me laugh out loud a good few times.
- The editing here (by Evan Schiff and William Yeh) is very slick indeed, most noticeably so in the many fight scenes. The one on the bus could be pulled apart as a template for a film school lesson.
Negatives:
- I've very little to add here. Yes, it's a rather shallow story, but I found it a hugely entertaining rush of a movie. However the intensity of the violence will not be for everyone. The lady a few seats along from me had her hands over her eyes for at least 75% of the movie I reckon.
- I wasn't clear where the character played by RZA fitted into the mix. Having (post film) seen the cast list, I'm even more confused!
Additional notes:
- There is a post credit scene in this one, shortly into the end credits, so don't dive for the doors too quickly if you want to see it. That being said, it doesn't really make much sense (why are they doing this?) and it isn't particularly funny either. So if you did miss it, then don't sweat about it!
- This is a movie that I knew virtually nothing about on going into it. Which is the best way to see it. As such, it's worth NOT watching the trailer, and going in on that basis if you can.
Summary Thoughts on "Nobody": It's a pretty shallow plot.... but it's also bloody good fun! I expected this to follow the well worn road of classic "revenge" movies - like "Death Wish" or "Taken" - but was pleasantly surprised that it didn't. A better comparison might be Michael Douglas's "Falling Down", but with the central character having more heart.
There are lots of nods to sequences from other movies in here: "Home Alone" (for obvious reasons!); "Patriot Games" and "The Equalizer" came to my mind. And the finale reminded me strongly of the anarchic chaos of 2016's "Free Fire".
Intellectual it ain't. But provided you can stomach the Tom and Jerry style violence, and suspend your belief at the punishment Hutch can take without hospital treatment, then "Nobody" ticks all the boxes for a fun night out at the flicks.
(For the full graphical review, please check out the One Mann's Movies review here - https://bob-the-movie-man.com/2021/06/09/nobody-what-kevin-mcallister-did-once-all-grown-up/. There's also a new Tiktok channel at onemannsmovies. Thanks).
Kiruji (13 KP) rated X-Men: First Class (2011) in Movies
Jul 18, 2018
I'm not an X-Men fan. I know, it's strange, right? I mean, I'm a comic book fan in general. Iron Man's a dude. I dig the Hulk. I love all things Batman (except when Joel Schumacher tweaked the Batman's Batnipples). I geekgasmed all over my trousers in the lead up to THE DARK KNIGHT and actually watching it at an IMAX was like losing my virginity again. But the X-Men? Kinda leave me cold. Even though, on the face of it, it should be pretty awesome. Mutant humans with the ability to do just about anything you can imagine, fighting each other and various other bad things? Why the hell wouldn't I like that? But I could never get into it. The first X-Men movie, way back in 2000, left me feeling indifferent. It was OK, but nothing special. The second one was worse. The third one just plain awful. WOLVERINE: ORIGINS was quite fun, but then, a hard drinking, smoking, swearing brawler with friendly mutton-chops and blades in his hands was always going to be appealing to me.
And so, it was with a feeling of complete indifference that I flashed my Cineworld Unlimited card at a bored usher and got my ticket and a mixed slushie last week. I only went to see it because my buddy wanted to and, well, we'd missed the start of THE HANGOVER PART II.
So, into the darkened room early for a change. Managed to get prime seats. Mainly because the auditorium was pretty much empty. Something I didn't think was the most fortuitous portent to the movie we were about to watch. On the plus side however, as we were watching a comic book movie, we got the comic book trailer reel... First was THE GREEN LANTERN, which excited me a little (mainly because I have a man crush on Ryan Reynolds). Then came CAPTAIN AMERICA, which excited me a little more (mainly because it looks FREAKIN' AWESOME). Then we got RISE OF THE PLANET OF THE APES, which intrigued me (mainly because James Franco was doing a 'learned man' accent). Presumably because Cineworld were already scraping the comic book movie barrel, they then repeated the APES trailer, which killed the mood and left me feeling indifferent again.
But I digress. I think you get that I didn't really give a crap one way or the other about the movie I was about to watch. The opening scenes however, are set in a WWII concentration camp and I found my interest piqued. At first, I couldn't figure out whether it had been newly filmed or if they were recycling one of the flashbacks from one of the earlier movies. Then, Kevin Bacon. Suddenly, I was transfixed by the German pouring forth from his mouth which seemed authentic and I couldn't quite work out if he was lip-synching or not. That's somewhat besides the point though, as the scene itself was very tense and only marginally spoiled by the child actor when it was his turn to scream the longest NOOOOOOO!!! (sorry, NEEEEEEEEIN!!!) since Adolf Vader in Episode 3.
The film very quickly moved on in leaps and bounds, sucking me in and winning me over. Kevin Bacon seemed to enjoy hamming it up as the evil Sebastian Shaw. James McAvoy is an exceptionally talented chap and made for an excellent Charles Xavier - a cocky, beer-swilling, genius ladies man. Similarly, Michael Fassbender did a top notch job in playing Erik Lehnsherr, coming across as a Holocaust-surviving Bond, maybe even slightly cooler. Even Jason Flemyng was pretty good, although I don't think he actually spoke at all, which might have helped his case.
I loved the whole origins story, seeing how Xavier and Lehnsherr were good friends despite their obvious differences and started the School for the Gifted together was pretty cool. The only little blight on the movie (after the whole NEEEEEEEIN!!! incident) was that when it came time for Fassbender to don Magneto's helmet, the prop department had obviously measured his noggin wrong and it was clearly too tight. I say that because, every time he slapped it on his dome, his accent turned from gruff-hero-of-indeterminate-country-of-origin to... Well, to Oirish. The only reason I can think of is that the helmet was squeezing his bonce a bit too snugly. It didn't happen when Kevin Bacon was wearing it.
Helmet business aside, on the whole, I left feeling like I'd just seen a proper comic book movie. Full of fantastical, incredible things dancing around a plot that made sense and characters that I, on the whole, cared about at least a little. There was even a Wolverine cameo in it, which made me chuckle more than it should have. Far from being indifferent towards the X-Men now, I'm looking forward to seeing where the story goes next. I just hope Matthew Vaughn is directing again. He's turned out an X-Men film that is much, much better than mediocre and they'd be idiots to give it to anyone else.
And so, it was with a feeling of complete indifference that I flashed my Cineworld Unlimited card at a bored usher and got my ticket and a mixed slushie last week. I only went to see it because my buddy wanted to and, well, we'd missed the start of THE HANGOVER PART II.
So, into the darkened room early for a change. Managed to get prime seats. Mainly because the auditorium was pretty much empty. Something I didn't think was the most fortuitous portent to the movie we were about to watch. On the plus side however, as we were watching a comic book movie, we got the comic book trailer reel... First was THE GREEN LANTERN, which excited me a little (mainly because I have a man crush on Ryan Reynolds). Then came CAPTAIN AMERICA, which excited me a little more (mainly because it looks FREAKIN' AWESOME). Then we got RISE OF THE PLANET OF THE APES, which intrigued me (mainly because James Franco was doing a 'learned man' accent). Presumably because Cineworld were already scraping the comic book movie barrel, they then repeated the APES trailer, which killed the mood and left me feeling indifferent again.
But I digress. I think you get that I didn't really give a crap one way or the other about the movie I was about to watch. The opening scenes however, are set in a WWII concentration camp and I found my interest piqued. At first, I couldn't figure out whether it had been newly filmed or if they were recycling one of the flashbacks from one of the earlier movies. Then, Kevin Bacon. Suddenly, I was transfixed by the German pouring forth from his mouth which seemed authentic and I couldn't quite work out if he was lip-synching or not. That's somewhat besides the point though, as the scene itself was very tense and only marginally spoiled by the child actor when it was his turn to scream the longest NOOOOOOO!!! (sorry, NEEEEEEEEIN!!!) since Adolf Vader in Episode 3.
The film very quickly moved on in leaps and bounds, sucking me in and winning me over. Kevin Bacon seemed to enjoy hamming it up as the evil Sebastian Shaw. James McAvoy is an exceptionally talented chap and made for an excellent Charles Xavier - a cocky, beer-swilling, genius ladies man. Similarly, Michael Fassbender did a top notch job in playing Erik Lehnsherr, coming across as a Holocaust-surviving Bond, maybe even slightly cooler. Even Jason Flemyng was pretty good, although I don't think he actually spoke at all, which might have helped his case.
I loved the whole origins story, seeing how Xavier and Lehnsherr were good friends despite their obvious differences and started the School for the Gifted together was pretty cool. The only little blight on the movie (after the whole NEEEEEEEIN!!! incident) was that when it came time for Fassbender to don Magneto's helmet, the prop department had obviously measured his noggin wrong and it was clearly too tight. I say that because, every time he slapped it on his dome, his accent turned from gruff-hero-of-indeterminate-country-of-origin to... Well, to Oirish. The only reason I can think of is that the helmet was squeezing his bonce a bit too snugly. It didn't happen when Kevin Bacon was wearing it.
Helmet business aside, on the whole, I left feeling like I'd just seen a proper comic book movie. Full of fantastical, incredible things dancing around a plot that made sense and characters that I, on the whole, cared about at least a little. There was even a Wolverine cameo in it, which made me chuckle more than it should have. Far from being indifferent towards the X-Men now, I'm looking forward to seeing where the story goes next. I just hope Matthew Vaughn is directing again. He's turned out an X-Men film that is much, much better than mediocre and they'd be idiots to give it to anyone else.
Joe Goodhart (27 KP) rated Supergirl (2016-) Vol. 1: The Killers of Krypton in Books
Nov 30, 2020
This was a solid book, really made me care about Supergirl as a character, something I have not felt since Peter David was writing it! Marc Andreyko has a genuine caring for the character, as she is written strongly, without pandering to the fanboys out there. And while I know Kara is not a real person, under Andreyko's hand, she felt very real!
The story follows up on the tail end of MAN OF STEEL (which, as I said in my review, exceeded my low expectations, helping to have faith anew in Brian Michael Bendis). She says goodbye to her cousin, Kal-El, as she heads to space to follow the trail of Rogol Zaar, and to determine if he was not lying when he claimed to have destroyed Krypton. Best of all, she won't be alone: Krypto will be along for the journey! And what a journey it is!
Some questions are answered, but new ones are generated, as a conspiracy within the Guardians of Oa! There's a lot more to it than just that, but I like my reviews, like my initial readings, to be Spoiler-Free! You'll have to read it for yourself, and I am certain that, like myself, you will not be disappointed!
And speaking of "not being disappointed", let me talk a bit about the equally enjoyable art. The majority of this volume was drawn by Kevin Maguire (who I adored here, as much as his work in the 80s on JUSTICE LEAGUE INTERNATIONAL), but he was also support the likes of Emanuela Lupacchino, Evan "Doc" Shaner, Lan, Medina and a bit of Karl Kesel, too! All involved were totally on their game, turning in art that remained consistent with Maguire's style, so as not to derail the story. Everyone deserves a big, hearty round of applause!
However, there was one thing in it that caused me to give it four Stars, not five. And, that, unfortunately, would be Dan Jurgens' Christmas-themed story. While the message was truly heartfelt and appreciated, the actual dialogue, as well as the story itself, was just not as good as I recall Jurgens being. And that's a damned shame, because some of my best Superman memories involve his stories from the 90s! Ah, memories!
And, that my friends, is a wrap! I hope you will check this one out, as it is the probably one of the best Supergirl stories in far too long! I truly hope DC treats Marc Andreyko right, because he is all aces!
The story follows up on the tail end of MAN OF STEEL (which, as I said in my review, exceeded my low expectations, helping to have faith anew in Brian Michael Bendis). She says goodbye to her cousin, Kal-El, as she heads to space to follow the trail of Rogol Zaar, and to determine if he was not lying when he claimed to have destroyed Krypton. Best of all, she won't be alone: Krypto will be along for the journey! And what a journey it is!
Some questions are answered, but new ones are generated, as a conspiracy within the Guardians of Oa! There's a lot more to it than just that, but I like my reviews, like my initial readings, to be Spoiler-Free! You'll have to read it for yourself, and I am certain that, like myself, you will not be disappointed!
And speaking of "not being disappointed", let me talk a bit about the equally enjoyable art. The majority of this volume was drawn by Kevin Maguire (who I adored here, as much as his work in the 80s on JUSTICE LEAGUE INTERNATIONAL), but he was also support the likes of Emanuela Lupacchino, Evan "Doc" Shaner, Lan, Medina and a bit of Karl Kesel, too! All involved were totally on their game, turning in art that remained consistent with Maguire's style, so as not to derail the story. Everyone deserves a big, hearty round of applause!
However, there was one thing in it that caused me to give it four Stars, not five. And, that, unfortunately, would be Dan Jurgens' Christmas-themed story. While the message was truly heartfelt and appreciated, the actual dialogue, as well as the story itself, was just not as good as I recall Jurgens being. And that's a damned shame, because some of my best Superman memories involve his stories from the 90s! Ah, memories!
And, that my friends, is a wrap! I hope you will check this one out, as it is the probably one of the best Supergirl stories in far too long! I truly hope DC treats Marc Andreyko right, because he is all aces!
Gareth von Kallenbach (965 KP) rated Mortal Kombat Legends: Scorpion's Revenge (2020) in Movies
Apr 14, 2020
The hugely popular Mortal Kombat franchise has a new cinematic entry with the release of Mortal Kombat Legends: Scorpion’s Revenge. The film is based on the very popular game series which began in the arcades and grew to dominate home gaming systems.
The franchise has also included theatrical films, toys, and scores of merchandise and the recent Mortal Kombat XI game was a massive success as well.
With news of a new live-action film in the works; Warner Bros has given fans something that truly fits the franchise well in the form of an R-Rated animated film.
While the prior films had a PG-13 rating, this one relishes the gore and violence and gives fans plenty of what they have come to expect.
The plot follows elements of the game and early film in that the evil Shao Khan has called forth the champions from the various realms to fight in a generational tournament where the realm who wins 10 strait events will have control over all the realms.
With 9 consecutive wins in place for Shao Khan and his champion Goro (Kevin Michael Richardson), the God Raiden (Dave B. Mitchell), has assembled a team of champions to save Earth.
There is Liu Kang (Jordan Rodrigues), Sonya Blade (Jennifer Carpenter), and the ego maniac Johnny Cage (Joel McHale).
The team must battle all manner of enemies which includes a very impressive list from the game series and it was great to see so many of them appear even if their roles were small.
The main story focuses on Scorpion (Patrick Seitz) and his attempt to regain what was taken from him and it is his backstory which sets the tone and frames much of the events.
Action wise the film delivers as there are the moves, graphic internal close ups, and gore that fans will expect. There are also a few surprises along the way that I do not want to spoil. I did wonder why every creature in the film had red blood as I do remember there being a bit of variety amongst the non-human creatures but this is a minor fact in what is otherwise an enjoyable film that fans should like.
While the plot does not hold much in the way of surprises; it does give fans the action and characters they love and does bring some interesting new elements to the franchise as well as the basis for some character growth in future films.
The animation and voice work is first-rate and really captures the look and tone of the series while having a visual style of its own.
The ending clearly seems to be setting up a sequel and I for one cannot wait to see what they have in store next.
4 stars out of 5
The franchise has also included theatrical films, toys, and scores of merchandise and the recent Mortal Kombat XI game was a massive success as well.
With news of a new live-action film in the works; Warner Bros has given fans something that truly fits the franchise well in the form of an R-Rated animated film.
While the prior films had a PG-13 rating, this one relishes the gore and violence and gives fans plenty of what they have come to expect.
The plot follows elements of the game and early film in that the evil Shao Khan has called forth the champions from the various realms to fight in a generational tournament where the realm who wins 10 strait events will have control over all the realms.
With 9 consecutive wins in place for Shao Khan and his champion Goro (Kevin Michael Richardson), the God Raiden (Dave B. Mitchell), has assembled a team of champions to save Earth.
There is Liu Kang (Jordan Rodrigues), Sonya Blade (Jennifer Carpenter), and the ego maniac Johnny Cage (Joel McHale).
The team must battle all manner of enemies which includes a very impressive list from the game series and it was great to see so many of them appear even if their roles were small.
The main story focuses on Scorpion (Patrick Seitz) and his attempt to regain what was taken from him and it is his backstory which sets the tone and frames much of the events.
Action wise the film delivers as there are the moves, graphic internal close ups, and gore that fans will expect. There are also a few surprises along the way that I do not want to spoil. I did wonder why every creature in the film had red blood as I do remember there being a bit of variety amongst the non-human creatures but this is a minor fact in what is otherwise an enjoyable film that fans should like.
While the plot does not hold much in the way of surprises; it does give fans the action and characters they love and does bring some interesting new elements to the franchise as well as the basis for some character growth in future films.
The animation and voice work is first-rate and really captures the look and tone of the series while having a visual style of its own.
The ending clearly seems to be setting up a sequel and I for one cannot wait to see what they have in store next.
4 stars out of 5