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5 Minute Movie Guy (379 KP) rated A Million Ways to Die in the West (2014) in Movies
Jun 26, 2019
Neil Patrick Harris is delightfully devious. (1 more)
MacFarlane shows he has potential in his on-screen acting debut.
The humor is at times very vulgar and immature. (2 more)
The film is slow-paced and overly long.
"A Dozen Ways to Die in the West" would have been a more appropriate title.
A Million Ways to Die in the West is good for a few laughs but it feels like it goes on unreasonably long. Still, if you're a fan of MacFarlane's other works, you'll most likely enjoy his parody of the Old West.
Following the success of his directorial debut, Ted, Seth MacFarlane steps in front of the movie camera for the first time in his new film, A Million Ways to Die in the West. MacFarlane is best known as the creator of the popular animated television series, Family Guy, and he was also the host of the Oscars just two years ago. Now he’s taking the starring role in a film he wrote and directed himself. Here MacFarlane plays a cowardly sheep farmer named Albert who is miserably living in the dangerous Old West. Or rather, the not-so-dangerous Old West. Despite what the title suggests, there’s not a whole lot of dying going on in A Million Ways to Die in the West. You won’t find a whole lot of substance either, but there are a fair amount of laughs if you’re able to tolerate the crude toilet humor and dirty jokes. All in all, MacFarlane does a decent job in this comedy, but his jokes stick too close to his own conventions, and much like life on the frontier, the film can be kind of a drag.
If you’ve ever seen Family Guy, you should feel right at home with the humor in this film. It’s crass, edgy, violent, and full of pop culture references. Although, given that this is an R-rated movie, MacFarlane’s able to push the limits further than usual, and he makes sure to do that by including a lot of raunchy humor and toilet-gags. Oh, and in case you were wondering, yes, male genitals are still the hottest thing in comedy right now. As you’ve no doubt deduced, this is certainly not a film you’d want to take your kids to see. Nor is it for the easily-offended. Though in the film’s defense, it’s not entirely tasteless, and its use of vulgarity isn’t overly frequent. There’s plenty of great slapstick physical comedy and some pretty hilarious dialogue. I laughed more than I thought I would, and was never so disgusted that I wanted to walk out. It’s an entertaining film, it just happens to run a little long and lose momentum down the stretch. Plus the main premise of the film is never all that compelling to begin with.
In A Million Ways to Die in the West, MacFarlane’s character Albert is a man entirely self-aware of the time and place he’s living in, as well as the many dangers that come with it. He sheepishly lives his life, terrified by the threat of death that lurks around every corner. When his beloved girlfriend leaves him for a man with a mighty mustache, Albert has to cowboy up to prove his machismo and try to win her back. Luckily for him, he meets a gun-toting woman named Anna who’s happy to help him face his fears and show him the ropes of being a cowboy. Unfortunately however, this new friendship ends up putting Albert right into the crosshairs of Clinch Leatherwood, the deadliest outlaw around.
While MacFarlane does a respectable job in his first foray into acting, his character feels rather uninspired. I couldn’t help but see him as a hodgepodge of various Family Guy characters, having the clumsiness of Peter Griffin, the self-consciousness of Chris Griffin, and the intelligence and charm of Brian. Given that he created that show, perhaps that should be expected, but it just felt like Albert was lacking a unique and consistent identity. He’s a character who can be charming and funny, but he also comes off seeming like a jerk. All in all, the film has a good cast of actors, with Neil Patrick Harris being the stand-out of the bunch. He plays the pompous, mustached snob, Foy, who steals the heart of Albert’s girlfriend, Louise. Giovanni Ribisi and Sarah Silverman are likable as the flawed, clueless couple who serve as Albert’s close friends, Edward and Ruth. Although their characters stay pretty comfortably within the realm of what you would expect from their respective actors, with Edward being the naïve nice guy, while Silverman’s Ruth is the seemingly-sweet-and-innocent, foul-mouthed hussy. Charlize Theron does a fine job as Albert’s mentor, Anna. She has a strong presence in the film and is fun to watch, but despite her best efforts, the emotional element she brings to the story ends up feeling forced and unconvincing. Though that’s no fault of her own. It’s just hard to imagine her, or anyone, falling head over heels so easily and suddenly for a guy like Albert. Then, of course, there’s Liam Neeson, who is effective in his performance as the intimidating villain, Clinch, but would have benefitted from more screen-time.
A Million Ways to Die in the West proficiently parodies the western film genre, capturing the right atmosphere for the setting and time period. Visually it’s a pleasant film to look at, with good camera-work, well-created sets, and lots of beautiful scenery. This makes it all the more disappointing then that the filmmakers decided to place a visual filter over the entirety of the film to give it a more old-fashioned look. As a result, there is a constant flickering throughout the whole movie, and while not quite seizure-inducing, it certainly is distracting. At times you kind of get used to it and forget about it, but it really stands out in scenes with heavy lighting and most of the movie takes place in broad daylight. On the audio side of things, the music is appropriately fitting, but little of it is particularly noteworthy. There is a great song about mustaches, accompanied with a well-orchestrated dance number led by Neil Patrick Harris in what is undoubtedly one of the highlights of the film. Additionally the film’s theme song is appropriately fun. The visual effects in the movie, although limited, are done quite well and nicely add to the film’s comedic effect. Although I’m sure I speak for everyone when I say the movie could have done just fine without all of the animated urinating sheep.
I think the film’s greatest flaw is the fact that it’s doing too much as it tries to incorporate all of the main stereotypes of the western genre. It has duels, bar brawls, jailbreaks, horse chases, and even capture by Indians thrown in for good measure. In trying to cover all of the bases, the movie ends up running too long and becomes a little boring and tired. Rather than building up to a climax, the film diverges with some unnecessary scenes, and then concludes with a lackluster ending. It would have been cool to see Clinch and his group of bandits lay siege to the main town, which could have given the filmmakers an opportunity to create a wide variety of deaths, and allow Albert to exercise his newly developed skills before setting up to an ultimate final showdown. Maybe that would be adding to the long list of clichés, but at least it would have given this slow-paced film some much needed adrenaline and would have made it more true to its misleading title. There are also several cameo appearances in the film, and while a couple of them are great conceptually, I don’t think any of them are quite as satisfying as they should be. They end up feeling out of place, like last-second additions that have no purpose other than to acknowledge other films. I can appreciate the attempt but the cameos aren’t particularly funny and they just seems to emphasize how much better those other films are.
Seth MacFarlane’s A Million Ways to Die in the West is good for a few laughs, but just like his character Albert’s long-winded ramblings, it feels like it goes on unreasonably long. It’s still an entertaining film regardless, and if you’re a fan of MacFarlane’s other work, you’ll most likely enjoy his parody of the Old West. The movie has a talented cast, some truly great scenes such as a bar brawl and a memorable dance, as well as plenty of good old-fashioned slapstick, and witty dialogue. If you can handle the occasional gross-out gag, you’ll probably have a good time. Just don’t expect to actually see the many ways people can die In the Old West. The movie doesn’t show many deaths at all, and all the best ones you likely already saw in the trailer.
(This review was originally posted at 5mmg.com on 6.3.14.)
If you’ve ever seen Family Guy, you should feel right at home with the humor in this film. It’s crass, edgy, violent, and full of pop culture references. Although, given that this is an R-rated movie, MacFarlane’s able to push the limits further than usual, and he makes sure to do that by including a lot of raunchy humor and toilet-gags. Oh, and in case you were wondering, yes, male genitals are still the hottest thing in comedy right now. As you’ve no doubt deduced, this is certainly not a film you’d want to take your kids to see. Nor is it for the easily-offended. Though in the film’s defense, it’s not entirely tasteless, and its use of vulgarity isn’t overly frequent. There’s plenty of great slapstick physical comedy and some pretty hilarious dialogue. I laughed more than I thought I would, and was never so disgusted that I wanted to walk out. It’s an entertaining film, it just happens to run a little long and lose momentum down the stretch. Plus the main premise of the film is never all that compelling to begin with.
In A Million Ways to Die in the West, MacFarlane’s character Albert is a man entirely self-aware of the time and place he’s living in, as well as the many dangers that come with it. He sheepishly lives his life, terrified by the threat of death that lurks around every corner. When his beloved girlfriend leaves him for a man with a mighty mustache, Albert has to cowboy up to prove his machismo and try to win her back. Luckily for him, he meets a gun-toting woman named Anna who’s happy to help him face his fears and show him the ropes of being a cowboy. Unfortunately however, this new friendship ends up putting Albert right into the crosshairs of Clinch Leatherwood, the deadliest outlaw around.
While MacFarlane does a respectable job in his first foray into acting, his character feels rather uninspired. I couldn’t help but see him as a hodgepodge of various Family Guy characters, having the clumsiness of Peter Griffin, the self-consciousness of Chris Griffin, and the intelligence and charm of Brian. Given that he created that show, perhaps that should be expected, but it just felt like Albert was lacking a unique and consistent identity. He’s a character who can be charming and funny, but he also comes off seeming like a jerk. All in all, the film has a good cast of actors, with Neil Patrick Harris being the stand-out of the bunch. He plays the pompous, mustached snob, Foy, who steals the heart of Albert’s girlfriend, Louise. Giovanni Ribisi and Sarah Silverman are likable as the flawed, clueless couple who serve as Albert’s close friends, Edward and Ruth. Although their characters stay pretty comfortably within the realm of what you would expect from their respective actors, with Edward being the naïve nice guy, while Silverman’s Ruth is the seemingly-sweet-and-innocent, foul-mouthed hussy. Charlize Theron does a fine job as Albert’s mentor, Anna. She has a strong presence in the film and is fun to watch, but despite her best efforts, the emotional element she brings to the story ends up feeling forced and unconvincing. Though that’s no fault of her own. It’s just hard to imagine her, or anyone, falling head over heels so easily and suddenly for a guy like Albert. Then, of course, there’s Liam Neeson, who is effective in his performance as the intimidating villain, Clinch, but would have benefitted from more screen-time.
A Million Ways to Die in the West proficiently parodies the western film genre, capturing the right atmosphere for the setting and time period. Visually it’s a pleasant film to look at, with good camera-work, well-created sets, and lots of beautiful scenery. This makes it all the more disappointing then that the filmmakers decided to place a visual filter over the entirety of the film to give it a more old-fashioned look. As a result, there is a constant flickering throughout the whole movie, and while not quite seizure-inducing, it certainly is distracting. At times you kind of get used to it and forget about it, but it really stands out in scenes with heavy lighting and most of the movie takes place in broad daylight. On the audio side of things, the music is appropriately fitting, but little of it is particularly noteworthy. There is a great song about mustaches, accompanied with a well-orchestrated dance number led by Neil Patrick Harris in what is undoubtedly one of the highlights of the film. Additionally the film’s theme song is appropriately fun. The visual effects in the movie, although limited, are done quite well and nicely add to the film’s comedic effect. Although I’m sure I speak for everyone when I say the movie could have done just fine without all of the animated urinating sheep.
I think the film’s greatest flaw is the fact that it’s doing too much as it tries to incorporate all of the main stereotypes of the western genre. It has duels, bar brawls, jailbreaks, horse chases, and even capture by Indians thrown in for good measure. In trying to cover all of the bases, the movie ends up running too long and becomes a little boring and tired. Rather than building up to a climax, the film diverges with some unnecessary scenes, and then concludes with a lackluster ending. It would have been cool to see Clinch and his group of bandits lay siege to the main town, which could have given the filmmakers an opportunity to create a wide variety of deaths, and allow Albert to exercise his newly developed skills before setting up to an ultimate final showdown. Maybe that would be adding to the long list of clichés, but at least it would have given this slow-paced film some much needed adrenaline and would have made it more true to its misleading title. There are also several cameo appearances in the film, and while a couple of them are great conceptually, I don’t think any of them are quite as satisfying as they should be. They end up feeling out of place, like last-second additions that have no purpose other than to acknowledge other films. I can appreciate the attempt but the cameos aren’t particularly funny and they just seems to emphasize how much better those other films are.
Seth MacFarlane’s A Million Ways to Die in the West is good for a few laughs, but just like his character Albert’s long-winded ramblings, it feels like it goes on unreasonably long. It’s still an entertaining film regardless, and if you’re a fan of MacFarlane’s other work, you’ll most likely enjoy his parody of the Old West. The movie has a talented cast, some truly great scenes such as a bar brawl and a memorable dance, as well as plenty of good old-fashioned slapstick, and witty dialogue. If you can handle the occasional gross-out gag, you’ll probably have a good time. Just don’t expect to actually see the many ways people can die In the Old West. The movie doesn’t show many deaths at all, and all the best ones you likely already saw in the trailer.
(This review was originally posted at 5mmg.com on 6.3.14.)
Daniel Boyd (1066 KP) rated Gerald's Game (2017) in Movies
Oct 13, 2017 (Updated Oct 13, 2017)
Top Notch Performances. (1 more)
Effective Scares.
Hard To Watch, Yet Impossible To Turn Away
Contains spoilers, click to show
After being underwhelmed by the major blockbuster release of IT, I didn’t have much hope for this small Netflix movie with a limited cast, a low budget and being an adaption of what is regarded as one of Stephen King’s lesser works. I am happy to report that I was pleasantly surprised when I sat down to watch this one, in fact I’d go as far as to say it blew me away.
This is a movie that lives and dies on the performances of the actors involved. For those of you not familiar with the story’s premise, it involves a married couple driving out to a holiday cottage in the woods for a dirty weekend. The couple is played by Carla Gugino, (Jessie,) and Bruce Greenwood, (Gerald,) who both totally nail their respective roles in the movie. Once they get to the cottage and the door is conveniently left ajar, Gerald handcuffs Jessie to the bed and goes to the bathroom to pop a Viagra. Once he comes back and explains how he has made sure the gardeners and the cleaners won’t disturb them for a few days, he takes a heart attack and collapses onto the floor and dies.
From this point on, Carla Gugino spends the vast majority of the movie handcuffed to the bed and she gives an absolutely stellar performance, possibly the best of her career. She goes though a vast array of emotions in convincing, believable form and shows everything, from despair, to sadness, to anger, to fear, to resilience. I don’t think anyone has ever been Oscar nominated for a straight-to-Netflix movie, but if there is one performance that deserves to be, it is this one.
If you haven’t seen the movie yet, please don’t read on past this point as I am going to have to delve into spoilers in order to discuss the other aspects of the movie that I enjoyed. I thought the way that Gerald appeared to Jessie as a sort of devil on her shoulder was really effective and Greenwood delivered the required level of intense cruelty perfectly. Then the fact that Jessie appeared to herself as a sort of angel on the shoulder to oppose Gerald’s negative thoughts, meant that Gugino was required to deliver a dual character performance, on top of the already challenging role of being chained to the bed.
Flashback sequences in movies can go either way for me. They usually either tend to detract from the story at hand and become an unnecessary tangent, or they compliment what is going on and add to the movie overall. Thankfully in this movie, it is the latter. The flashback scenes are uncomfortable and hard to watch, but they do add context to what is going on in the character’s mind and make for a more interesting dissection of the effect that child abuse can have on a person in later life and how psychologically, even as adults people are still affected by the dreadful things that occurred in their past.
I also thought that this film was extremely effective in terms of its fear factor. As opposed to IT, which was scary at the start, but became repetitive and managed to desensitise its audience for what to expect by the halfway mark, Gerald’s game retains an unpredictable level of uneasiness throughout.
As far as the viewer knows during the first half of the movie, the main conflict facing the protagonist is starvation and the dog that is gnawing on Gerald’s dead body, but then things take a much more sinister turn. In what is possibly the creepiest scene I have seen in a movie this year, Jessie wakes up during the night after passing out for a few hours and she looks into the corner of the room, squinting her eyes. The camera follows where she is looking and the general shape of something can be made out. Then the shape begins to move forwards into the moonlight and is revealed to be a huge, deformed man holding a trinket box. This was so unexpected and freaky, and I loved it. I thought it was so effective in the context of the movie and was executed perfectly to be as disturbing as possible. It is also a relatable scare, as we have all experienced that moment; glancing at the corner of the room, something catches our eye and looks off in the darkness, but you just brush it off and fall back asleep. Jessie’s worst fears are confirmed here though, as she really did see something in the corner of the room and she is helpless to get away from it.
It also throws a twist into a story that has so far been based in what could be a real situation. You start to wonder, is Jessie experiencing something supernatural, or is she just hallucinating due to lack of food and water? Then the Gerald hallucination asks her if ‘The Moonlight Man,’ that she saw isn’t real, then why did the dog run away when he was in the room? Just like Jessie, the audience starts to wonder if he could be real, perhaps he is death and he has come to take Jessie to hell. All of these questions add to the already intense and disturbing tone of the movie and I thought it worked perfectly.
Eventually the movie wraps up with Jessie having an epiphany that if she smashes the glass of water and cuts her wrist, the blood can help her slip her hand out of the cuffs. What follows is a gory, brutal, difficult to watch de-gloving scene that will have you wincing and watching through your fingers. Then in true Stephen King fashion, the movie goes on to reveal another twist. It is revealed that ‘The Moonlight Man,’ really was in the room with Jessie. He was a serial killer that collected various body parts form dead people and he was taking parts from Gerald’s body while Jessie was chained to the bed. I can see why this ending could be polarizing for some, but I loved it and I thought it added an extra layer of craziness to the already insane sequence of events that we just witnessed.
Overall, Gerald’s Game is fantastic. A truly unsettling, chilling Stephen King adaption that showcases fantastic performances from its cast, makes the most of its minimal setting and managed to creep me out way more than any other horror movie I have seen this year.
This is a movie that lives and dies on the performances of the actors involved. For those of you not familiar with the story’s premise, it involves a married couple driving out to a holiday cottage in the woods for a dirty weekend. The couple is played by Carla Gugino, (Jessie,) and Bruce Greenwood, (Gerald,) who both totally nail their respective roles in the movie. Once they get to the cottage and the door is conveniently left ajar, Gerald handcuffs Jessie to the bed and goes to the bathroom to pop a Viagra. Once he comes back and explains how he has made sure the gardeners and the cleaners won’t disturb them for a few days, he takes a heart attack and collapses onto the floor and dies.
From this point on, Carla Gugino spends the vast majority of the movie handcuffed to the bed and she gives an absolutely stellar performance, possibly the best of her career. She goes though a vast array of emotions in convincing, believable form and shows everything, from despair, to sadness, to anger, to fear, to resilience. I don’t think anyone has ever been Oscar nominated for a straight-to-Netflix movie, but if there is one performance that deserves to be, it is this one.
If you haven’t seen the movie yet, please don’t read on past this point as I am going to have to delve into spoilers in order to discuss the other aspects of the movie that I enjoyed. I thought the way that Gerald appeared to Jessie as a sort of devil on her shoulder was really effective and Greenwood delivered the required level of intense cruelty perfectly. Then the fact that Jessie appeared to herself as a sort of angel on the shoulder to oppose Gerald’s negative thoughts, meant that Gugino was required to deliver a dual character performance, on top of the already challenging role of being chained to the bed.
Flashback sequences in movies can go either way for me. They usually either tend to detract from the story at hand and become an unnecessary tangent, or they compliment what is going on and add to the movie overall. Thankfully in this movie, it is the latter. The flashback scenes are uncomfortable and hard to watch, but they do add context to what is going on in the character’s mind and make for a more interesting dissection of the effect that child abuse can have on a person in later life and how psychologically, even as adults people are still affected by the dreadful things that occurred in their past.
I also thought that this film was extremely effective in terms of its fear factor. As opposed to IT, which was scary at the start, but became repetitive and managed to desensitise its audience for what to expect by the halfway mark, Gerald’s game retains an unpredictable level of uneasiness throughout.
As far as the viewer knows during the first half of the movie, the main conflict facing the protagonist is starvation and the dog that is gnawing on Gerald’s dead body, but then things take a much more sinister turn. In what is possibly the creepiest scene I have seen in a movie this year, Jessie wakes up during the night after passing out for a few hours and she looks into the corner of the room, squinting her eyes. The camera follows where she is looking and the general shape of something can be made out. Then the shape begins to move forwards into the moonlight and is revealed to be a huge, deformed man holding a trinket box. This was so unexpected and freaky, and I loved it. I thought it was so effective in the context of the movie and was executed perfectly to be as disturbing as possible. It is also a relatable scare, as we have all experienced that moment; glancing at the corner of the room, something catches our eye and looks off in the darkness, but you just brush it off and fall back asleep. Jessie’s worst fears are confirmed here though, as she really did see something in the corner of the room and she is helpless to get away from it.
It also throws a twist into a story that has so far been based in what could be a real situation. You start to wonder, is Jessie experiencing something supernatural, or is she just hallucinating due to lack of food and water? Then the Gerald hallucination asks her if ‘The Moonlight Man,’ that she saw isn’t real, then why did the dog run away when he was in the room? Just like Jessie, the audience starts to wonder if he could be real, perhaps he is death and he has come to take Jessie to hell. All of these questions add to the already intense and disturbing tone of the movie and I thought it worked perfectly.
Eventually the movie wraps up with Jessie having an epiphany that if she smashes the glass of water and cuts her wrist, the blood can help her slip her hand out of the cuffs. What follows is a gory, brutal, difficult to watch de-gloving scene that will have you wincing and watching through your fingers. Then in true Stephen King fashion, the movie goes on to reveal another twist. It is revealed that ‘The Moonlight Man,’ really was in the room with Jessie. He was a serial killer that collected various body parts form dead people and he was taking parts from Gerald’s body while Jessie was chained to the bed. I can see why this ending could be polarizing for some, but I loved it and I thought it added an extra layer of craziness to the already insane sequence of events that we just witnessed.
Overall, Gerald’s Game is fantastic. A truly unsettling, chilling Stephen King adaption that showcases fantastic performances from its cast, makes the most of its minimal setting and managed to creep me out way more than any other horror movie I have seen this year.
Daniel Boyd (1066 KP) rated X-Men: Apocalypse (2016) in Movies
Jul 19, 2017 (Updated Apr 16, 2021)
80's setting (2 more)
Quicksilver
Oscar Isaacs
Mutants Have Mankind Divided
This movie has had the most mixed reaction that I have seen since Batman V Superman, however I do objectively believe that X Men is a better movie and to be honest I don’t understand the mixed response Apocalypse has gotten. The year is 1983, 10 years after the last x men movie, Days Of Future Past (as in the kind of 10 years where no one ages a day,) and we know that it is 1983 because some of the young mutants go and see Return Of The Jedi in the cinema. The hairstyles and fashion statements are suitably 80’s, which is an appropriate motif to choose as it adds a more comic book feel to the movie and forces it to stick to a brighter colour pallet than some of the previous X men outings. Another positive is the return of Quicksilver, who has another awesome slow motion scene, which possibly isn’t as well choreographed as the one in DOFP, but is definitely grander in scale. While the design of Apocalypse in this movie has been heavily criticised, I didn’t feel that it took me out of the movie and I felt that Oscar Isaacs’ portrayal of the ancient mutant is another great turn by the actor and proves yet again how diverse and chameleon like he really is. The one downside of his character is that he has been significantly nerfed in terms of his powers here. He does feel powerful, but never overwhelmingly so and when the final confrontation does take place, it feels like he is holding back. This could be explained in a contrived manner by saying that he doesn’t want to kill mutants, because they are all his children, but if the success of his plan depends on it then he shouldn’t even hesitate, he should just wipe all the X Men out in an instant like we know he can.
The tone is another issue I have with the movie, it is fairly inconsistent throughout and never reaches the level of threat that it is aiming for. However, this is through no fault of the cast or the performances. MacAvoy and Fassbender stand out here as you would expect, their relationship also remains one of the most interesting parts of the plot. Isaacs’ performance is also suitably threatening and sinister, the only thing lacking in his character other than the odd design choice, is how short he is next to the other mutants. He doesn’t have to be huge like in the comics and cartoons, but making him a little bit more physically imposing with clever camera tricks would have went a long way in adding to the character. Jennifer Lawrence is fine here as usual and young Cyclops and Jean Grey are perfectly serviceable, although Sophie Turner’s American accent does come and go in certain scenes. Even Peters is typically brilliant as Quicksilver and the actress who plays Storm here is also pretty convincing, as is the young English actor who plays Angel. Nightcrawler is a welcome addition to the roster as I feel that he has been criminally underused since the second X Men movie and his power set is definitely one of the most interesting in all of the X Men movies, also the actor playing him here does a good job throughout the film. However the same can’t be said for Olivia Munn who plays Psylocke in this movie, I have disliked this actress in every role I have seen her in to date and the same goes for this one, she brings nothing to the movie and she constantly has a resting bitch face that suggests she doesn’t want to be there.
Like Civil War, X Men wasn’t anything like the comic it was based on and we didn’t get what we expected, but what we did end up getting was fresh and entertaining in it’s own right, so it’s okay that the film plots aren’t 100% faithful to the source material and that is something that Singer has been preaching since he made the first X Men movie back in 2001, which incidentally wasn’t based on any comic book and was a totally original plot. Also I love how because of the alternate timeline they are now free to do whatever they want in terms of the timing of certain events. For example, (and this is a slight spoiler, but the movie has been out for a while now so deal with it,) the Phoenix Force makes an appearance in this movie, which typically isn’t something that Jean Grey acquires until later in her life. Also the fact that we saw Wolverine escaping from Weapon X again, (again spoilers but this was in the trailers anyway so again, deal with it,) was awesome and this time we saw him being broken out by the young X Men and this time he had the comic book accurate electric headgear on while he escaped and I also loved how we saw him interact with young Jean Grey and regain some of his memories. This could also could be a change in the timeline caused by the butterfly effect as a result of the events of Days Of Future Past. This would also explain why the Magneto/Quicksilver, father/son relationship has never been discussed before, because if Apocalypse never awakened in the original X Men trilogy, then Quicksilver would have never went to the X Men mansion and therefore wouldn’t have come into contact with his dad during the final battle scene. Also Mystique looks like she is now a member and potential leader of the X Men team, rather than an enemy of the team like she was in the original movies when she was played by Rebecca Romjin. The other big change in the timeline is the death of Magneto’s family and even the fact that he had a wife and another child besides Quicksilver and Scarlett Witch.
Overall I really enjoyed this movie, however I can also see why some people would take a disliking to it, as it does require a good amount of previous knowledge of the universe, but as an X Men fan, I loved it. Also another criticism I have read is that people aren’t happy with the length of the film, stating that it is too long and it drags in, but I actually thought the pacing was spot on. Anyway as an X Men fan, I loved my time would this movie and I look forward to seeing it again and I’d recommend it to anyone who is a mutant superhero fan.
The tone is another issue I have with the movie, it is fairly inconsistent throughout and never reaches the level of threat that it is aiming for. However, this is through no fault of the cast or the performances. MacAvoy and Fassbender stand out here as you would expect, their relationship also remains one of the most interesting parts of the plot. Isaacs’ performance is also suitably threatening and sinister, the only thing lacking in his character other than the odd design choice, is how short he is next to the other mutants. He doesn’t have to be huge like in the comics and cartoons, but making him a little bit more physically imposing with clever camera tricks would have went a long way in adding to the character. Jennifer Lawrence is fine here as usual and young Cyclops and Jean Grey are perfectly serviceable, although Sophie Turner’s American accent does come and go in certain scenes. Even Peters is typically brilliant as Quicksilver and the actress who plays Storm here is also pretty convincing, as is the young English actor who plays Angel. Nightcrawler is a welcome addition to the roster as I feel that he has been criminally underused since the second X Men movie and his power set is definitely one of the most interesting in all of the X Men movies, also the actor playing him here does a good job throughout the film. However the same can’t be said for Olivia Munn who plays Psylocke in this movie, I have disliked this actress in every role I have seen her in to date and the same goes for this one, she brings nothing to the movie and she constantly has a resting bitch face that suggests she doesn’t want to be there.
Like Civil War, X Men wasn’t anything like the comic it was based on and we didn’t get what we expected, but what we did end up getting was fresh and entertaining in it’s own right, so it’s okay that the film plots aren’t 100% faithful to the source material and that is something that Singer has been preaching since he made the first X Men movie back in 2001, which incidentally wasn’t based on any comic book and was a totally original plot. Also I love how because of the alternate timeline they are now free to do whatever they want in terms of the timing of certain events. For example, (and this is a slight spoiler, but the movie has been out for a while now so deal with it,) the Phoenix Force makes an appearance in this movie, which typically isn’t something that Jean Grey acquires until later in her life. Also the fact that we saw Wolverine escaping from Weapon X again, (again spoilers but this was in the trailers anyway so again, deal with it,) was awesome and this time we saw him being broken out by the young X Men and this time he had the comic book accurate electric headgear on while he escaped and I also loved how we saw him interact with young Jean Grey and regain some of his memories. This could also could be a change in the timeline caused by the butterfly effect as a result of the events of Days Of Future Past. This would also explain why the Magneto/Quicksilver, father/son relationship has never been discussed before, because if Apocalypse never awakened in the original X Men trilogy, then Quicksilver would have never went to the X Men mansion and therefore wouldn’t have come into contact with his dad during the final battle scene. Also Mystique looks like she is now a member and potential leader of the X Men team, rather than an enemy of the team like she was in the original movies when she was played by Rebecca Romjin. The other big change in the timeline is the death of Magneto’s family and even the fact that he had a wife and another child besides Quicksilver and Scarlett Witch.
Overall I really enjoyed this movie, however I can also see why some people would take a disliking to it, as it does require a good amount of previous knowledge of the universe, but as an X Men fan, I loved it. Also another criticism I have read is that people aren’t happy with the length of the film, stating that it is too long and it drags in, but I actually thought the pacing was spot on. Anyway as an X Men fan, I loved my time would this movie and I look forward to seeing it again and I’d recommend it to anyone who is a mutant superhero fan.
Hadley (567 KP) rated The Amazing Crime and Trial of Leopold and Loeb in Books
Apr 13, 2019
"The crime itself was indefensible. The brilliant, spoiled and bored sons of two of Chicago's wealthiest families planned to commit the perfect crime both for the thrill of and to prove their perverse misunderstanding of Friedrich Nietzsche's philosophy of the 'superman,' who was above all law so long as he made no mistake. Their plan, worked out over several months, was to kidnap and immediately kill one of their younger neighbors and hide his body. They would then demand and collect a ransom. The body would never be discovered, the crime would never be solved and only they would know that they had prevailed over ordinary human beings and their simple-minded legal system. But far from being the 'perfect crime,' the murder of 14-year-old Bobby Franks turned out to be amateurishly botched. Before any ransom could be paid, the boy's body was discovered in a culvert near where Nathan Leopold often went bird-watching. A pair of telltale glasses were found adjacent to the body. They were easily traced to Leopold who first came up with a paper-thin alibi and soon thereafter confessed to the crime. His fellow murderer likewise confessed. Each of the 'superboys' placed blame for the actual killing on the other." - Alan M. Dershowitz
If you mentioned the names Leopold and Loeb today, many people wouldn't know who you were talking about, but if you had mentioned them just thirty years ago, many people would recall the 'murder of the century.'
If you are a fan of the True Crime genre, you'll come across the case of two wealthy Chicago boys who thought they could get away with murder. (The trial is probably the most talked about trial to-date because this is the first time that psychology was brought before a court room.)
For a good part of the late 1920's, Leopold and Loeb were household names for good reason: they came from millionaire families, they were college graduates before they were 18-years-old, and their trial was the first time in history that the world saw psychology put in front of a judge. The trial was even more unforgettable due to a closing speech given by famous defense attorney, Clarence Darrow, which is reprinted in its entirety,spanning a hefty 93 pages.
Nathan Leopold, Jr. and Richard Loeb were two people who should have never met, according to the courtroom. The two met at about the age of fifteen, soon after they began to embark on criminal acts together, ranging from theft to arson. It's stated in 'the Amazing Crime and Trial of Leopold and Loeb' that Loeb had created a fantasy world where he was a crime ringleader that was too smart for the police to catch. Readers get to judge for themselves whether or not they believe Loeb was the cause of their crimes, or if Leopold was the one really in charge.
After robbing Loeb's fraternity house together, Leopold and Loeb came up with a plan to kidnap a wealthy child that they could then ransom. "They began to devise elaborate plans for this kidnapping, and soon the planning became the all-important thing. They gave up the idea of kidnapping this particular person [a young man named William], and settled on the idea of kidnapping anyone who would fit in their kidnapping plans." Throughout the book, we find out that the boys were pretty desperate for a kidnapping victim, that they even thought about kidnapping one of their close friends:
"The plan of kidnaping Dick Rubel was given up because Dick Rubel's father was so tight we might not get any money from him."
Leopold and Loeb discussed everything from how they would receive the ransom, what weapons they would use, how they would get the victim inside a rented vehicle, and what they would do with the body afterwards. "In March, 1924, the patient [Loeb] conceived the idea of securing the money by having it thrown off a moving train. This idea was discussed in great detail, and gradually developed into a carefully systematized plan. As time wore on the plan became greatly modified from the original one. They discussed at considerable length the choice of a suitable subject for kidnapping. The patient's companion [Leopold] suggested that they kidnap a young girl instead of a boy, but the patient [Loeb] objected to this. His companion [Leopold] also suggested that they kidnap the patient's [Loeb] younger brother, but the patient apparently did not seriously consider doing this. They then considered half a dozen boys, any one of whom would do, for the following reasons: that they were physically small enough to be easily handled and their parents were extremely wealthy and would have no difficulty or disinclination to pay ransom money."
During the trial, Leopold and Loeb's psychological evaluations became the forefront of their guilty plea, stating that they were not responsible for their actions due to their upbringing and environment. "I submit the facts do not rest on the evidence of these boys alone. It is proven by the writings; it is proven by every act. It is proven by their companions, and there can by no question about it." Clarence Darrow explains in his famous closing statement. "We brought into this courtroom a number of their boy friends, whom they had known day by day, who had associated with them in the club house, were their constant companions, and they tell the same stories. They tell the story that neither of these two boys was responsible for his conduct."
'The Amazing Crime and Trial of Leopold and Loeb' contains the portions of the psychiatric evaluations that were submitted in court,but the testimony of character witnesses is omitted. For a factual telling of a real life trial, this book is okay. If the reader pays attention, they may notice that some of the book contradicts itself, such as one page states that the car robe used to wrap up Franks' body was found buried near Lake Michigan,but then pages later, the book states it had been burned at Loeb's home.
The psychiatric reports are very repetitive,just using different words to describe the same things. Yet, these reports are the backbone of the trial and well worth a read. The evaluations and Darrow's extensive speech were what saved Leopold and Loeb from a death sentence.
There are very few books written about the 'murder of the century,' and even less about the 'lawyer of the century.' Leopold and Loeb, as well as Darrow, have faded into the obscurity of the True Crime genre, but because the boys' mental state was brought into question, we now accept forensic science/psychology in the court room today. I feel that only people who are truly interested in True Crime, or even have a fascination for the court room are the only ones who will enjoy 'The Amazing Crime and Trial of Leopold and Loeb.'
If you mentioned the names Leopold and Loeb today, many people wouldn't know who you were talking about, but if you had mentioned them just thirty years ago, many people would recall the 'murder of the century.'
If you are a fan of the True Crime genre, you'll come across the case of two wealthy Chicago boys who thought they could get away with murder. (The trial is probably the most talked about trial to-date because this is the first time that psychology was brought before a court room.)
For a good part of the late 1920's, Leopold and Loeb were household names for good reason: they came from millionaire families, they were college graduates before they were 18-years-old, and their trial was the first time in history that the world saw psychology put in front of a judge. The trial was even more unforgettable due to a closing speech given by famous defense attorney, Clarence Darrow, which is reprinted in its entirety,spanning a hefty 93 pages.
Nathan Leopold, Jr. and Richard Loeb were two people who should have never met, according to the courtroom. The two met at about the age of fifteen, soon after they began to embark on criminal acts together, ranging from theft to arson. It's stated in 'the Amazing Crime and Trial of Leopold and Loeb' that Loeb had created a fantasy world where he was a crime ringleader that was too smart for the police to catch. Readers get to judge for themselves whether or not they believe Loeb was the cause of their crimes, or if Leopold was the one really in charge.
After robbing Loeb's fraternity house together, Leopold and Loeb came up with a plan to kidnap a wealthy child that they could then ransom. "They began to devise elaborate plans for this kidnapping, and soon the planning became the all-important thing. They gave up the idea of kidnapping this particular person [a young man named William], and settled on the idea of kidnapping anyone who would fit in their kidnapping plans." Throughout the book, we find out that the boys were pretty desperate for a kidnapping victim, that they even thought about kidnapping one of their close friends:
"The plan of kidnaping Dick Rubel was given up because Dick Rubel's father was so tight we might not get any money from him."
Leopold and Loeb discussed everything from how they would receive the ransom, what weapons they would use, how they would get the victim inside a rented vehicle, and what they would do with the body afterwards. "In March, 1924, the patient [Loeb] conceived the idea of securing the money by having it thrown off a moving train. This idea was discussed in great detail, and gradually developed into a carefully systematized plan. As time wore on the plan became greatly modified from the original one. They discussed at considerable length the choice of a suitable subject for kidnapping. The patient's companion [Leopold] suggested that they kidnap a young girl instead of a boy, but the patient [Loeb] objected to this. His companion [Leopold] also suggested that they kidnap the patient's [Loeb] younger brother, but the patient apparently did not seriously consider doing this. They then considered half a dozen boys, any one of whom would do, for the following reasons: that they were physically small enough to be easily handled and their parents were extremely wealthy and would have no difficulty or disinclination to pay ransom money."
During the trial, Leopold and Loeb's psychological evaluations became the forefront of their guilty plea, stating that they were not responsible for their actions due to their upbringing and environment. "I submit the facts do not rest on the evidence of these boys alone. It is proven by the writings; it is proven by every act. It is proven by their companions, and there can by no question about it." Clarence Darrow explains in his famous closing statement. "We brought into this courtroom a number of their boy friends, whom they had known day by day, who had associated with them in the club house, were their constant companions, and they tell the same stories. They tell the story that neither of these two boys was responsible for his conduct."
'The Amazing Crime and Trial of Leopold and Loeb' contains the portions of the psychiatric evaluations that were submitted in court,but the testimony of character witnesses is omitted. For a factual telling of a real life trial, this book is okay. If the reader pays attention, they may notice that some of the book contradicts itself, such as one page states that the car robe used to wrap up Franks' body was found buried near Lake Michigan,but then pages later, the book states it had been burned at Loeb's home.
The psychiatric reports are very repetitive,just using different words to describe the same things. Yet, these reports are the backbone of the trial and well worth a read. The evaluations and Darrow's extensive speech were what saved Leopold and Loeb from a death sentence.
There are very few books written about the 'murder of the century,' and even less about the 'lawyer of the century.' Leopold and Loeb, as well as Darrow, have faded into the obscurity of the True Crime genre, but because the boys' mental state was brought into question, we now accept forensic science/psychology in the court room today. I feel that only people who are truly interested in True Crime, or even have a fascination for the court room are the only ones who will enjoy 'The Amazing Crime and Trial of Leopold and Loeb.'
Bong Mines Entertainment (15 KP) rated KOD by J. Cole in Music
Jun 7, 2019
J. Cole is a popular hip-hop lyricist out of Fayetteville, North Carolina. Not too long ago, he released his long-anticipated, self-produced, fifth studio album, entitled, “KOD”.
J. Cole – “KOD Trailer”
Cole revealed via Twitter that “KOD” stands for Kids on Drugs, King Overdosed, and Kill Our Demons. The rest of the album he leaves to our interpretation. Well, let’s begin.
INTRO
The album begins with caution. Jazz bellows underneath a female voice reciting uplifting words. Her message suggests listeners should make the right decisions (choose wisely) because the past (sand in an hourglass) can provide shelter for their demons.
Also, a way to a painless existence is provided. Those in pain must choose wisely, or make healthier decisions, to avoid being tormented by their past.
KOD
The title track showcases Cole’s Kids on Drugs braggadocios side. In verse one, he utilizes his carnal mind to reply to media/fans asking him a bunch of ‘how’ questions. But instead of being humble, Cole replies to his critics in an arrogant way.
The second verse disconnects from the first and goes into a random storytelling mode with intersecting ideas that jump from one subject to another.
The outro is noteworthy. It forms a bridge between Intro and KOD songs. Also, it ends on a thought-provoking note.
If love is indeed the strongest drug like Cole stated, then why isn’t it being chased after like the drugs listed above? Why aren’t more people getting high off love? The question then becomes…is love even a drug?
That depends on who you ask. But what we all will agree on, love is an invisible element that contributes to people being addicted to drugs? It’s a fact, a strong love for something breeds addiction, dependency, et cetera.
PHOTOGRAPH
Cole uses a 2018 rhyme pattern to address a woman he follows privately on social media. He’s addicted or loves to stalk the woman online, and it’s starting to mess with his health.
Cole always excels when he tells stories about him and a woman. Women are his go-to subject to rap about and he does a pretty good job on this song.
THE CUT OFF (FEAT. KILL EDWARD)
Cole isn’t too fond of doing features on his albums. But this time, he enlists his alter ego, kiLL edward, to help him say that Heaven is a mental mind state.
edward raps that he’s stuck in his fallen ways and that’s why he keeps falling down. That’s why he drinks alcohol and uses drugs to help him cope. But keep in mind that edward is actually Cole.
Cole raps about disloyal friends that owe him an apology and what he’s gonna do to them when they meet. But all the while, edward is in Cole’s mind telling him that drinking alcohol and using drugs will help numb his pain.
ATM
ATM is an energetically poppin’ single with replay value. It begins with the album’s theme—choose wisely.
Cole praises money like it’s biblical and even states that it solved every problem he had. But after counting up all the money, he concludes that you can’t take it with you when you die.
The Scott Lazer & Cole-directed video shows the King of Drugs chauffeuring a bunch of children riding on a drug float. The storyline is dope, reminiscent of a classic video from hip-hop’s golden era.
Also, Cole literally gives his arm and leg to purchase a vehicle. That transaction signifies what people are doing nowadays to accumulate material wealth. But keep in mind, chasing money will lead to your death or downfall. Message received.
MOTIV8
Motiv8 is a good track that features a sample from Junior M.A.F.I.A.’s “Get Money” single.
Cole encourages listeners to get high and get money, even though he just said that chasing money is detrimental to their health.
Verse 2 features one of Cole’s best lyrics and flow.
KEVIN’S HEART
Cole’s continues his lyrical crusade and touches on his favorite subject.
He raps about being in a committed relationship but admits to being an addict that’s addicted to cheating. He tries to fight the temptation and remain faithful but acknowledges that he’s fake for thinking that way.
BRACKETS
The song begins with a Richard Pryor comedy skit.
Cole speaks about being a millionaire and then he receives a phone call from Uncle Sam.
Verse 2 highlights Cole’s disgust with paying higher taxes now that he’s a millionaire.
ONCE AN ADDICT – INTERLUDE
Cole shines brightly on this song, which is reminiscent of Nas’ “Project Windows” single.
He addresses his mother’s battle with alcoholism. The reason why she drank—because Cole’s step-father had a baby with another woman. So, to cope with the pain, Cole’s mother started abusing alcohol.
With no one to turn to, she used to call to talk to Cole. But he didn’t like talking to her while she was drunk.
At the end of the song, Cole regrets being that way to his mother when she needed him the most.
FRIENDS (FEAT. KILL EDWARDS)
Cole finds solace in his alter ego and cops another bag of weed to smoke. Somehow, he needs it to cope and gets aggravated when he doesn’t smoke.
He takes this time to address his friends who aren’t motivated to succeed. He tells them several things they can blame their lack of motivation on. And ends it by saying that the blame game is also an addiction that people use to not get better.
Also, he raps about depression and drug addiction.
WINDOW PAIN – OUTRO
The song begins with a girl telling Cole about the time her cousin got shot. Cole is sad, listening to the girl with tears in his eyes.
Then Cole praises the Most High. He speaks about things he wanna do like killing the man that made his mother cry and seeing his granny on the other side.
The girl ends the song with a powerful message.
1985 – INTRO TO “THE FALL OFF”
Cole ends his KOD album in battle rap mode. He addresses Lil Pump for dissing him on Pump’s “F*ck J Cole” song.
Cole’s flow is melodic and his lyrics cut deep. He foretells Pump’s future and predicts the rapper will be on Love & Hip-Hop in five years. Also, Cole wished him good luck in his career.
CONCLUSION
J. Cole gets a big thumbs up for producing a solid album with no features. Also, his evergreen message of choosing wisely has to be applauded, especially nowadays when living recklessly is being rewarded.
Listeners have different options to cope with their pain. Using drugs and drinking alcohol are just two ways of doing so. But if you choose wisely, and pick a healthier way to ease your pain, your life will change for the better.
https://www.bongminesentertainment.com/j-cole-kod/
J. Cole – “KOD Trailer”
Cole revealed via Twitter that “KOD” stands for Kids on Drugs, King Overdosed, and Kill Our Demons. The rest of the album he leaves to our interpretation. Well, let’s begin.
INTRO
The album begins with caution. Jazz bellows underneath a female voice reciting uplifting words. Her message suggests listeners should make the right decisions (choose wisely) because the past (sand in an hourglass) can provide shelter for their demons.
Also, a way to a painless existence is provided. Those in pain must choose wisely, or make healthier decisions, to avoid being tormented by their past.
KOD
The title track showcases Cole’s Kids on Drugs braggadocios side. In verse one, he utilizes his carnal mind to reply to media/fans asking him a bunch of ‘how’ questions. But instead of being humble, Cole replies to his critics in an arrogant way.
The second verse disconnects from the first and goes into a random storytelling mode with intersecting ideas that jump from one subject to another.
The outro is noteworthy. It forms a bridge between Intro and KOD songs. Also, it ends on a thought-provoking note.
If love is indeed the strongest drug like Cole stated, then why isn’t it being chased after like the drugs listed above? Why aren’t more people getting high off love? The question then becomes…is love even a drug?
That depends on who you ask. But what we all will agree on, love is an invisible element that contributes to people being addicted to drugs? It’s a fact, a strong love for something breeds addiction, dependency, et cetera.
PHOTOGRAPH
Cole uses a 2018 rhyme pattern to address a woman he follows privately on social media. He’s addicted or loves to stalk the woman online, and it’s starting to mess with his health.
Cole always excels when he tells stories about him and a woman. Women are his go-to subject to rap about and he does a pretty good job on this song.
THE CUT OFF (FEAT. KILL EDWARD)
Cole isn’t too fond of doing features on his albums. But this time, he enlists his alter ego, kiLL edward, to help him say that Heaven is a mental mind state.
edward raps that he’s stuck in his fallen ways and that’s why he keeps falling down. That’s why he drinks alcohol and uses drugs to help him cope. But keep in mind that edward is actually Cole.
Cole raps about disloyal friends that owe him an apology and what he’s gonna do to them when they meet. But all the while, edward is in Cole’s mind telling him that drinking alcohol and using drugs will help numb his pain.
ATM
ATM is an energetically poppin’ single with replay value. It begins with the album’s theme—choose wisely.
Cole praises money like it’s biblical and even states that it solved every problem he had. But after counting up all the money, he concludes that you can’t take it with you when you die.
The Scott Lazer & Cole-directed video shows the King of Drugs chauffeuring a bunch of children riding on a drug float. The storyline is dope, reminiscent of a classic video from hip-hop’s golden era.
Also, Cole literally gives his arm and leg to purchase a vehicle. That transaction signifies what people are doing nowadays to accumulate material wealth. But keep in mind, chasing money will lead to your death or downfall. Message received.
MOTIV8
Motiv8 is a good track that features a sample from Junior M.A.F.I.A.’s “Get Money” single.
Cole encourages listeners to get high and get money, even though he just said that chasing money is detrimental to their health.
Verse 2 features one of Cole’s best lyrics and flow.
KEVIN’S HEART
Cole’s continues his lyrical crusade and touches on his favorite subject.
He raps about being in a committed relationship but admits to being an addict that’s addicted to cheating. He tries to fight the temptation and remain faithful but acknowledges that he’s fake for thinking that way.
BRACKETS
The song begins with a Richard Pryor comedy skit.
Cole speaks about being a millionaire and then he receives a phone call from Uncle Sam.
Verse 2 highlights Cole’s disgust with paying higher taxes now that he’s a millionaire.
ONCE AN ADDICT – INTERLUDE
Cole shines brightly on this song, which is reminiscent of Nas’ “Project Windows” single.
He addresses his mother’s battle with alcoholism. The reason why she drank—because Cole’s step-father had a baby with another woman. So, to cope with the pain, Cole’s mother started abusing alcohol.
With no one to turn to, she used to call to talk to Cole. But he didn’t like talking to her while she was drunk.
At the end of the song, Cole regrets being that way to his mother when she needed him the most.
FRIENDS (FEAT. KILL EDWARDS)
Cole finds solace in his alter ego and cops another bag of weed to smoke. Somehow, he needs it to cope and gets aggravated when he doesn’t smoke.
He takes this time to address his friends who aren’t motivated to succeed. He tells them several things they can blame their lack of motivation on. And ends it by saying that the blame game is also an addiction that people use to not get better.
Also, he raps about depression and drug addiction.
WINDOW PAIN – OUTRO
The song begins with a girl telling Cole about the time her cousin got shot. Cole is sad, listening to the girl with tears in his eyes.
Then Cole praises the Most High. He speaks about things he wanna do like killing the man that made his mother cry and seeing his granny on the other side.
The girl ends the song with a powerful message.
1985 – INTRO TO “THE FALL OFF”
Cole ends his KOD album in battle rap mode. He addresses Lil Pump for dissing him on Pump’s “F*ck J Cole” song.
Cole’s flow is melodic and his lyrics cut deep. He foretells Pump’s future and predicts the rapper will be on Love & Hip-Hop in five years. Also, Cole wished him good luck in his career.
CONCLUSION
J. Cole gets a big thumbs up for producing a solid album with no features. Also, his evergreen message of choosing wisely has to be applauded, especially nowadays when living recklessly is being rewarded.
Listeners have different options to cope with their pain. Using drugs and drinking alcohol are just two ways of doing so. But if you choose wisely, and pick a healthier way to ease your pain, your life will change for the better.
https://www.bongminesentertainment.com/j-cole-kod/
BackToTheMovies (56 KP) rated Child's Play (2019) in Movies
Jun 21, 2019
After moving to a new city, young Andy Barclay receives a special present from his mother. A seemingly innocent Buddi doll that becomes his best friend. When the doll suddenly takes on a life of its own, Andy unites with other neighborhood children to stop the sinister toy from wreaking bloody havoc.
For months I’ve been hating on this reboot. Whilst I still don’t necessarily agree with the politics of how this film came to be. I left the theatre quite surprised at how much I enjoyed this movie. Child’s Play is reimagined for a modern generation. Whilst this film is an alternate timeline twist to the original it still manages to throw in that classic Chucky humor we all know and love. Here’s my Child’s Play 2019 review.
Lars Klevberg tells the story of Buddi, an artificial intelligence robot that can control your home appliances and become your best friend. He will play with you, interact with you like a real human being and you can do activities together. After a man is fired at the Buddi factory he reprograms one of the dolls to disobey its commands and the reign of Chucky begins when it falls into the hands of young Andy (Gabriel Bateman) given to him as a present by his mum Karen (Aubrey Plaza). What follows is a thoroughly enjoyable feature that flies by. Chucky’s murderous rage ramps up to artificial intelligence warfare with epic results.
Disregarding the original storyline of a serial killer whose soul inhabits a Good Guys doll the new Child’s Play tells a more chilling tale. The movie runs a very close to home social commentary about our reliance on technology and the implications that could follow. Buddi is your walking, talking Amazon Echo. Every home device is controlled at his fingertips from TV’s to telephones and even as far as automated cars. You can only imagine the terror that unfolds as Chucky learns to utilize his technological surroundings for evil.
Chucky starts off innocent enough. He’s programmed to be Andy’s best friend but what starts out as a unique interaction between boy and robot instantly changes when Chucky becomes sentient. Influenced by those around him and watching horror movies with Andy suddenly Buddi becomes more sinister in nature. Instead of a treasured companion, Chucky becomes possessive and will protect Andy by any means necessary. Quite the different approach from that of previous installments. Even when Chucky begins his reign of terror Andy is still loyal to him to some degree. Whilst he cannot understand why Chucky is doing the things he does there’s a loneliness about Andy’s character that almost seems to justify Chucky’s behavior. He doesn’t agree with it but at the same time, he has a friend, albeit a murderous little rampaging doll.
Child’s Play has some incredible humour mixed in throughout which allows the film to flow freely. Whilst Seed of Chucky and Bride of Chucky had free-speaking souls it’s harder to convey this type of humour within a robotic doll. Instead, the doll spills one-liners and is influenced by those around him leading to some comical results. Chucky’s infamous one-liners come to the fold and various facial expressions on the doll are hysterical.
The vocal work and comedic delivery from Mark Hamil is nothing short of wonderful. There is nothing this man cannot do. The force is strong with him even in a Chucky movie. Whilst more robotic in nature the way the lines are delivered with such dry-pan straight-faced edge is just brilliant. But once again we cannot compare this new Chucky to the sublime work of Brad Dourif. Brad is delivering dialogue as a human being whereas Mark is delivering lines as a robotic entity. They just cannot be compared and it would be a stupid comparison to make. All in all the voice work is great It’s just a shame I can’t take this ugly doll seriously for one second!
Whoever designed the Buddi doll in pre-production needs a serious talking to! I’m not quite sure what look they were going for with this but it certainly isn’t a good one. The film becomes even more of a comedy the more you look at it. The old dolls had that look of innocence in the originals, this one is just so damn weird. I can’t picture a production meeting where everyone in the room agreed that this is the final look of the doll without intense laughing involved. It’s like the production team are openly fucking with us. No one on this planet can take this doll seriously and for me, Child’s Play is way more of a comedy than it will ever be a horror movie.
For the most part, casting within Child’s Play is very strong. Gabriel Bateman (Andy) puts in a strong performance single-handedly carrying the film. Brian Tyree Henry (Mike) who plays a neighbor/detective is also a nice comedic relief within the feature. Ty Consiglio, Beatrice Kitsos and Carlease Burke also play strong supporting roles. Where casting failed for me however was Aubrey Plaza. I’ve seen Aubrey in comedies where her humor never really hits home in any roles she’s in.
Arrogant and annoying in many roles this cookie cutter casting has her playing the same role in every film she’s in. Playing Andy’s mum in this film doesn’t work for me whatsoever. There’s no conviction, no depth, no family dynamic feel of any sort. She almost plays an annoying older sister rather than a mother. Thankfully, she doesn’t play a key role as such to Andy’s arc and thus I can overlook her involvement as such. I think Aubrey should have played a sister role or similar, it would have played to her on-screen strengths.
When Chucky starts killing is when this movie comes into its own. It has nothing to compare it to previous Chucky films. Our new technologically manipulative little doll runs havoc on the millennial generation of mobile phone and gadget addicted humans. The death scenes are gory and for the most part, all have comedy elements to them. Whilst the kills are unimaginative it’s how Chucky delivers those kills that really add that star gore power to proceedings.
Endearing, gory and mostly hilarious. The contrast of tone in Child’s Play may even persuade the die-hard fans to enjoy this one. It shouldn’t really be compared to the originals in any way shape or form although it does have an 80’s flair to it. Child’s Play has taken a new direction but has stayed relevant to modern times and whilst it’s taking a different path than the upcoming TV series, it’s safe to say Chucky really is back!
Thanks for checking out my Child’s Play 2019 review. I hope you enjoy it as much as I did!
https://backtothemovies.com/childs-play-2019-review/
For months I’ve been hating on this reboot. Whilst I still don’t necessarily agree with the politics of how this film came to be. I left the theatre quite surprised at how much I enjoyed this movie. Child’s Play is reimagined for a modern generation. Whilst this film is an alternate timeline twist to the original it still manages to throw in that classic Chucky humor we all know and love. Here’s my Child’s Play 2019 review.
Lars Klevberg tells the story of Buddi, an artificial intelligence robot that can control your home appliances and become your best friend. He will play with you, interact with you like a real human being and you can do activities together. After a man is fired at the Buddi factory he reprograms one of the dolls to disobey its commands and the reign of Chucky begins when it falls into the hands of young Andy (Gabriel Bateman) given to him as a present by his mum Karen (Aubrey Plaza). What follows is a thoroughly enjoyable feature that flies by. Chucky’s murderous rage ramps up to artificial intelligence warfare with epic results.
Disregarding the original storyline of a serial killer whose soul inhabits a Good Guys doll the new Child’s Play tells a more chilling tale. The movie runs a very close to home social commentary about our reliance on technology and the implications that could follow. Buddi is your walking, talking Amazon Echo. Every home device is controlled at his fingertips from TV’s to telephones and even as far as automated cars. You can only imagine the terror that unfolds as Chucky learns to utilize his technological surroundings for evil.
Chucky starts off innocent enough. He’s programmed to be Andy’s best friend but what starts out as a unique interaction between boy and robot instantly changes when Chucky becomes sentient. Influenced by those around him and watching horror movies with Andy suddenly Buddi becomes more sinister in nature. Instead of a treasured companion, Chucky becomes possessive and will protect Andy by any means necessary. Quite the different approach from that of previous installments. Even when Chucky begins his reign of terror Andy is still loyal to him to some degree. Whilst he cannot understand why Chucky is doing the things he does there’s a loneliness about Andy’s character that almost seems to justify Chucky’s behavior. He doesn’t agree with it but at the same time, he has a friend, albeit a murderous little rampaging doll.
Child’s Play has some incredible humour mixed in throughout which allows the film to flow freely. Whilst Seed of Chucky and Bride of Chucky had free-speaking souls it’s harder to convey this type of humour within a robotic doll. Instead, the doll spills one-liners and is influenced by those around him leading to some comical results. Chucky’s infamous one-liners come to the fold and various facial expressions on the doll are hysterical.
The vocal work and comedic delivery from Mark Hamil is nothing short of wonderful. There is nothing this man cannot do. The force is strong with him even in a Chucky movie. Whilst more robotic in nature the way the lines are delivered with such dry-pan straight-faced edge is just brilliant. But once again we cannot compare this new Chucky to the sublime work of Brad Dourif. Brad is delivering dialogue as a human being whereas Mark is delivering lines as a robotic entity. They just cannot be compared and it would be a stupid comparison to make. All in all the voice work is great It’s just a shame I can’t take this ugly doll seriously for one second!
Whoever designed the Buddi doll in pre-production needs a serious talking to! I’m not quite sure what look they were going for with this but it certainly isn’t a good one. The film becomes even more of a comedy the more you look at it. The old dolls had that look of innocence in the originals, this one is just so damn weird. I can’t picture a production meeting where everyone in the room agreed that this is the final look of the doll without intense laughing involved. It’s like the production team are openly fucking with us. No one on this planet can take this doll seriously and for me, Child’s Play is way more of a comedy than it will ever be a horror movie.
For the most part, casting within Child’s Play is very strong. Gabriel Bateman (Andy) puts in a strong performance single-handedly carrying the film. Brian Tyree Henry (Mike) who plays a neighbor/detective is also a nice comedic relief within the feature. Ty Consiglio, Beatrice Kitsos and Carlease Burke also play strong supporting roles. Where casting failed for me however was Aubrey Plaza. I’ve seen Aubrey in comedies where her humor never really hits home in any roles she’s in.
Arrogant and annoying in many roles this cookie cutter casting has her playing the same role in every film she’s in. Playing Andy’s mum in this film doesn’t work for me whatsoever. There’s no conviction, no depth, no family dynamic feel of any sort. She almost plays an annoying older sister rather than a mother. Thankfully, she doesn’t play a key role as such to Andy’s arc and thus I can overlook her involvement as such. I think Aubrey should have played a sister role or similar, it would have played to her on-screen strengths.
When Chucky starts killing is when this movie comes into its own. It has nothing to compare it to previous Chucky films. Our new technologically manipulative little doll runs havoc on the millennial generation of mobile phone and gadget addicted humans. The death scenes are gory and for the most part, all have comedy elements to them. Whilst the kills are unimaginative it’s how Chucky delivers those kills that really add that star gore power to proceedings.
Endearing, gory and mostly hilarious. The contrast of tone in Child’s Play may even persuade the die-hard fans to enjoy this one. It shouldn’t really be compared to the originals in any way shape or form although it does have an 80’s flair to it. Child’s Play has taken a new direction but has stayed relevant to modern times and whilst it’s taking a different path than the upcoming TV series, it’s safe to say Chucky really is back!
Thanks for checking out my Child’s Play 2019 review. I hope you enjoy it as much as I did!
https://backtothemovies.com/childs-play-2019-review/
Becs (244 KP) rated Monster Catchers in Books
Jul 6, 2019
Captivating middle grade novel!
You can also find this review on my blog: bookingwayreads.wordpress.com
Thank you to Smith Publicity and the author, George Brewington, for allowing me the wonderful opportunity to be a part of the Monster Catchers blog tour and for sending me a copy to read and review.
TRIGGER WARNINGS: death, kidnapping
"We can't always think of ourselves. There are so many creatures in the world that need love."
Main Characters:
Bailey Buckleby - the main character and co-owner of Buckleby and Sons. He's a monster catcher like his father, but questions how his father goes about the business. Very compassionate and has a good Frisbee throwing arm.
Dougie Buckleby - Bailey's father and the owner of Buckleby and Sons. He has taught Bailey everything he knows about being a monster catcher. A bit selfish by not really listening to Bailey, even though he always ends up being right.
Savannah - schoolmate of Bailey's turned friend. A part of the Bullhead Brigade, which Nikos is also a part of.
Henry - baby Swiss troll that is taken in by Dougie. But is he?
Candycane Boom - a loan shark that ends up teaming up with Axel Pazuzu. Later become an alley to Bailey, Savannah, and Nikos.
Nikos - a Minotaur that is hired to take down Bailey and his father but after being beaten, he joins forces.
Axel Pazuzu - a cynocephaly (part human, part dog that is a god). Known for scamming people worse than Candycane Boom. Ends up causing a lot of problems for Bailey, Savannah, and Dougie.
"Sometimes passion makes one do really, really stupid things. You mustn't beat yourself up about it."
Review:
**Possible spoilers ahead**
Monster Catchers is a middle grade novel about friendship, adventure, sacrifices, saving the ones you love, with a hint of romance and drama. It starts with Bailey sitting at the register in the family shop, rereading In the Shadows of Monsters by his favorite monster catcher. Some teenage boys come in looking for trouble, but Bailey scares them off by showing them the monitor that shows the back room. This very back room is where the real business of Buckleby and Sons take place: monster catching.
Soon after the group of teenage boys leave, a customer comes in needing to have a 'pest' taken care of. Once the Buckleby's are hired, Candycane Boom comes in looking for another fairy friend for his current fairy. He picks on out while Bailey walks Henry on Whalefat Beach. This is where the two meet Axel Pazuzu a cynocephaly, which is a half human, half dog god creature. Axel tries buying Henry from Bailey, but he refuses because he doesn't want to loose this best friend. Bailey quickly heads home with Henry before Axel tries stealing Henry away.
That night, Dougie and Bailey head out to the customer's home to catch the little rascal that has been stealing all of the lights. Well, things don't go according to plane and instead of catching just one little goblin, they catch two and encounter about ten others. This doesn't turn out for Dougie as one of the goblins bites his finger off!
After they returned home, Bailey fell asleep. The next morning, he headed to school to give the report that was due but that he wasn't ready for. So he improvised and told about one of the real stories from In the Shadow of Monsters. Now, the thing with people within Monster Catchers, is that they don't believe that the monsters are real. They are in a constant denial, even when they've seen the monsters themselves. This sparks some major debate in Bailey's class.
Savannah ends up following Bailey back to the store where she is introduced to all the monsters in the back room and even eventually meets Axel Pazuzu when they head to the beach to walk Henry. Axel hires Candycane to get Henry from the Buckleby's. Well, this causes a bunch of different action packed scenes that will leave you turning the pages until the ending.
When you think monsters, you don't think of a father-son duo saving California. But that's just what Dougie and Bailey Buckleby do. For the right price, they will capture anything from goblins and trolls to harpies and fairies. If it's a monster of any sort, the Buckleby's are the one's to call. But, Bailey soon finds out that his father has been lying to him all of his life and it must be he who saves the people of the world. Monster Catcher is a fast-paced, action-packed adventure that will capture young hearts everywhere.
Character/ Story background and development -
I was generally surprised at how much development was within this little novel. Especially for it being book one in a series and a debut! Bailey's and his fathers development were some of the best. The two go from best buds to Bailey questioning everything about him to having to sacrifice him for the sake of the world. It just blew me away the relationship that the duo had as they were massively different, but brought very similar aspects to the relationship.
Plot -
George Brewington weaves lessons of friendship, morals, and action into this fantasy filled debut. Bailey's interest in monsters is heartwarming, especially when he finds out that monsters have feelings and all aren't bad like they are perceived to be.
Spelling/ Grammatical errors -
I honestly didn't seem to find any spelling or grammatical errors that popped out or took away from the overall story. Monster Catchers is a very well-written novel.
Enjoyment -
I really enjoyed going on an adventure with Bailey and all the lovable monsters. I will most defiantly be rereading this. One thing I rather enjoyed, that I have to point out, is how George Brewington mixed extremely important world issues like: environmental issues, understanding differences, and sacrifices along with adding that fantasy aspect that is common among middle-grade novels.
Overall -
With the interwoven lessons and morals, the fun and quirky lines, the cliff hangers, discovering oneself, understanding differences, Monster Catchers encourages the reader to think beyond the words that are written.
Do I recommend? -
Yes! I highly recommend The Monster Catchers by George Brewington. It was such a cute little novel and I need more!!
"We either try or die, Bailey Boy."
Thank you to Smith Publicity and the author, George Brewington, for allowing me the wonderful opportunity to be a part of the Monster Catchers blog tour and for sending me a copy to read and review.
TRIGGER WARNINGS: death, kidnapping
"We can't always think of ourselves. There are so many creatures in the world that need love."
Main Characters:
Bailey Buckleby - the main character and co-owner of Buckleby and Sons. He's a monster catcher like his father, but questions how his father goes about the business. Very compassionate and has a good Frisbee throwing arm.
Dougie Buckleby - Bailey's father and the owner of Buckleby and Sons. He has taught Bailey everything he knows about being a monster catcher. A bit selfish by not really listening to Bailey, even though he always ends up being right.
Savannah - schoolmate of Bailey's turned friend. A part of the Bullhead Brigade, which Nikos is also a part of.
Henry - baby Swiss troll that is taken in by Dougie. But is he?
Candycane Boom - a loan shark that ends up teaming up with Axel Pazuzu. Later become an alley to Bailey, Savannah, and Nikos.
Nikos - a Minotaur that is hired to take down Bailey and his father but after being beaten, he joins forces.
Axel Pazuzu - a cynocephaly (part human, part dog that is a god). Known for scamming people worse than Candycane Boom. Ends up causing a lot of problems for Bailey, Savannah, and Dougie.
"Sometimes passion makes one do really, really stupid things. You mustn't beat yourself up about it."
Review:
**Possible spoilers ahead**
Monster Catchers is a middle grade novel about friendship, adventure, sacrifices, saving the ones you love, with a hint of romance and drama. It starts with Bailey sitting at the register in the family shop, rereading In the Shadows of Monsters by his favorite monster catcher. Some teenage boys come in looking for trouble, but Bailey scares them off by showing them the monitor that shows the back room. This very back room is where the real business of Buckleby and Sons take place: monster catching.
Soon after the group of teenage boys leave, a customer comes in needing to have a 'pest' taken care of. Once the Buckleby's are hired, Candycane Boom comes in looking for another fairy friend for his current fairy. He picks on out while Bailey walks Henry on Whalefat Beach. This is where the two meet Axel Pazuzu a cynocephaly, which is a half human, half dog god creature. Axel tries buying Henry from Bailey, but he refuses because he doesn't want to loose this best friend. Bailey quickly heads home with Henry before Axel tries stealing Henry away.
That night, Dougie and Bailey head out to the customer's home to catch the little rascal that has been stealing all of the lights. Well, things don't go according to plane and instead of catching just one little goblin, they catch two and encounter about ten others. This doesn't turn out for Dougie as one of the goblins bites his finger off!
After they returned home, Bailey fell asleep. The next morning, he headed to school to give the report that was due but that he wasn't ready for. So he improvised and told about one of the real stories from In the Shadow of Monsters. Now, the thing with people within Monster Catchers, is that they don't believe that the monsters are real. They are in a constant denial, even when they've seen the monsters themselves. This sparks some major debate in Bailey's class.
Savannah ends up following Bailey back to the store where she is introduced to all the monsters in the back room and even eventually meets Axel Pazuzu when they head to the beach to walk Henry. Axel hires Candycane to get Henry from the Buckleby's. Well, this causes a bunch of different action packed scenes that will leave you turning the pages until the ending.
When you think monsters, you don't think of a father-son duo saving California. But that's just what Dougie and Bailey Buckleby do. For the right price, they will capture anything from goblins and trolls to harpies and fairies. If it's a monster of any sort, the Buckleby's are the one's to call. But, Bailey soon finds out that his father has been lying to him all of his life and it must be he who saves the people of the world. Monster Catcher is a fast-paced, action-packed adventure that will capture young hearts everywhere.
Character/ Story background and development -
I was generally surprised at how much development was within this little novel. Especially for it being book one in a series and a debut! Bailey's and his fathers development were some of the best. The two go from best buds to Bailey questioning everything about him to having to sacrifice him for the sake of the world. It just blew me away the relationship that the duo had as they were massively different, but brought very similar aspects to the relationship.
Plot -
George Brewington weaves lessons of friendship, morals, and action into this fantasy filled debut. Bailey's interest in monsters is heartwarming, especially when he finds out that monsters have feelings and all aren't bad like they are perceived to be.
Spelling/ Grammatical errors -
I honestly didn't seem to find any spelling or grammatical errors that popped out or took away from the overall story. Monster Catchers is a very well-written novel.
Enjoyment -
I really enjoyed going on an adventure with Bailey and all the lovable monsters. I will most defiantly be rereading this. One thing I rather enjoyed, that I have to point out, is how George Brewington mixed extremely important world issues like: environmental issues, understanding differences, and sacrifices along with adding that fantasy aspect that is common among middle-grade novels.
Overall -
With the interwoven lessons and morals, the fun and quirky lines, the cliff hangers, discovering oneself, understanding differences, Monster Catchers encourages the reader to think beyond the words that are written.
Do I recommend? -
Yes! I highly recommend The Monster Catchers by George Brewington. It was such a cute little novel and I need more!!
"We either try or die, Bailey Boy."
Emma @ The Movies (1786 KP) rated Ready or Not (2019) in Movies
Nov 5, 2019
Contains spoilers, click to show
I enjoyed this because it was basically bat shit crazy, but I also had some issues with it. The trailers looked great but going back to them now you see quite a lot of action from key points in the film. Because of the haphazard nature of everything I don't think it spoils anything but at the time I couldn't remember many of the trailers going in. The vibe I remembered getting from them was very much You're Next with a vague hint of Clue.
What stopped me in my tracks a little was what the film was trying to be. I thought it was going to be a homedy (yes I'm still trying to make my horror-comedy hybrid work), your traditional crazy horror with a comedic leaning... but what happened was a lot of drama, they were actually trying to be serious. Well, as serious as you can get when you're in the middle of hunting a bride on her wedding night. When mother and son sit to have a heart to heart I was actually taken out of the film for a moment as it wasn't in keeping with what else was happening.
Had this gone all the way over to crazy horror I would have given it a higher rating, they're fast paced and entertaining, the slight indecisiveness of what came to the screen really knocked it down for me. Even with the bizarre magic box tradition this film could have been something more serious but not by the time we get to that ending.
I'm really thankful that this game adaptation was at least better than Truth Or Dare. I don't think I could stand another stinker like that. The story is a nice easy one to get along with, family acquire a magic box that keeps them thriving and all they have to do is occasionally sacrifice someone that's loved deeply by one of the family... good old Satan bringing us a solid storyline.
Samara Weaving, or as I have to keep reminding myself "not Margot Robbie", plays our blushing bride, Grace. Boy does she throw a lot at this role, I like to think she got a lot of stress relief out of this as she fights back at her would be murderers. Thankfully Grace didn't end up in many of the drama-y bits so there was little to be annoyed about. Her magic moments included punching Georgie, swearing at the car and wailing like a banshee at the end like she'd gone feral. Bravo! But I think the best and worst bit was when she climbed out of hell, you knew what she was thinking, you knew she had no option and oh my god did I hurt in sympathy.
Adam Brody has to be the other stand out performance for me as the brother-in-law, Daniel Le Domas. We get a very small introduction to his character as a child but it really did help you to understand the way he is and why he reacts the way he does as they hunt Grace. The guilt he has from the first Hide & Seek he participated in is clearly part of the reason he's the son who's off the rails, but he keeps his protective nature from his childhood in adulthood towards his brother and Grace. He stops and talks with Grace during the hunt and you can see him switching allegiances as we get further through the story. Brody conveys this well and is actually the one character that you can sort of sympathise with. His death is the beginning of the end and it's an emotional moment that played out well on screen. I think he probably came out better not surviving to the end of the film.
There are lots of highs and lows with various characters throughout. Fitch is the "dumb" one and there was something magical about seeing him YouTubing how to use a crossbow and later asking Charity at what point they should cut and run.
Mark O'Brien as Alex Le Domas was probably my least favourite character. His scripting felt rather bland compared to some of the others... but mainly... what an arsehole! Just live in sin man! Why potentially doom her, I'm sure it wouldn't have been too hard to fall off the radar somehow. If he was already slightly estranged I can't see that going altogether would be much of a stretch.
Alex also gets what is possibly the most annoying part of the script, he's handcuffed to the bed and he starts using the chain as a saw to try to get through the ornamental bar... these aren't bit of Ikea furniture... in what universe is that going to work in this timeframe?! Stand up and throw your weight on it until it snaps! I was wondering if he was actually trying to break the handcuffs (an equally stupid idea), and do we actually see how he gets out of them? Now I've confused myself.
Anyway, this will become an epic if I don't move on.
I quite liked the way the film looked, once we got to the evening the whole set became a beautiful golden autumnal palette and it gave you a sense of wealth and history, but when you add in the blood and seeking you get a real sense of the hiding (that makes sense in my head). It did at times become dark, it was never so bad that you couldn't see what was happening but it allowed for the reintroduction of light at the end as the house burns behind her which was a nice touch.
The final sequence should probably get its own mention. Alex, obviously about to break after seeing his brother die and Grace bludgeoning his mother, is bizarrely confirming his fears that the pair will not be together after what has happened. He then turns on her so he can get back the only thing left in his life, his (now slightly smaller) family. I loved the slightly vampiric turn the scene took as they're exposed to the morning sun, I'm not sure I'd have recoiled from it quite so much but I appreciated the comedic value it added. The family's actual demise and Grace's ghost sighting are the reason this needed to be a homedy (Still no? Whatever.), there's no way that fits in with anything more serious. And I'm sorry but overall I didn't find it that funny, much like Last Blood I was reacting to the ridiculous violence.
I like to think that as the last bit of the house disintegrates in the fire and Grace is still sitting bleeding on the steps that a firefighter comes over with the seemingly untouched magic box and hands it to her because it looks like a family heirloom. She's a Le Domas now, and everything is hers...
Full review originally posted on: https://emmaatthemovies.blogspot.com/2019/11/ready-or-not-spoilers-movie-review.html
What stopped me in my tracks a little was what the film was trying to be. I thought it was going to be a homedy (yes I'm still trying to make my horror-comedy hybrid work), your traditional crazy horror with a comedic leaning... but what happened was a lot of drama, they were actually trying to be serious. Well, as serious as you can get when you're in the middle of hunting a bride on her wedding night. When mother and son sit to have a heart to heart I was actually taken out of the film for a moment as it wasn't in keeping with what else was happening.
Had this gone all the way over to crazy horror I would have given it a higher rating, they're fast paced and entertaining, the slight indecisiveness of what came to the screen really knocked it down for me. Even with the bizarre magic box tradition this film could have been something more serious but not by the time we get to that ending.
I'm really thankful that this game adaptation was at least better than Truth Or Dare. I don't think I could stand another stinker like that. The story is a nice easy one to get along with, family acquire a magic box that keeps them thriving and all they have to do is occasionally sacrifice someone that's loved deeply by one of the family... good old Satan bringing us a solid storyline.
Samara Weaving, or as I have to keep reminding myself "not Margot Robbie", plays our blushing bride, Grace. Boy does she throw a lot at this role, I like to think she got a lot of stress relief out of this as she fights back at her would be murderers. Thankfully Grace didn't end up in many of the drama-y bits so there was little to be annoyed about. Her magic moments included punching Georgie, swearing at the car and wailing like a banshee at the end like she'd gone feral. Bravo! But I think the best and worst bit was when she climbed out of hell, you knew what she was thinking, you knew she had no option and oh my god did I hurt in sympathy.
Adam Brody has to be the other stand out performance for me as the brother-in-law, Daniel Le Domas. We get a very small introduction to his character as a child but it really did help you to understand the way he is and why he reacts the way he does as they hunt Grace. The guilt he has from the first Hide & Seek he participated in is clearly part of the reason he's the son who's off the rails, but he keeps his protective nature from his childhood in adulthood towards his brother and Grace. He stops and talks with Grace during the hunt and you can see him switching allegiances as we get further through the story. Brody conveys this well and is actually the one character that you can sort of sympathise with. His death is the beginning of the end and it's an emotional moment that played out well on screen. I think he probably came out better not surviving to the end of the film.
There are lots of highs and lows with various characters throughout. Fitch is the "dumb" one and there was something magical about seeing him YouTubing how to use a crossbow and later asking Charity at what point they should cut and run.
Mark O'Brien as Alex Le Domas was probably my least favourite character. His scripting felt rather bland compared to some of the others... but mainly... what an arsehole! Just live in sin man! Why potentially doom her, I'm sure it wouldn't have been too hard to fall off the radar somehow. If he was already slightly estranged I can't see that going altogether would be much of a stretch.
Alex also gets what is possibly the most annoying part of the script, he's handcuffed to the bed and he starts using the chain as a saw to try to get through the ornamental bar... these aren't bit of Ikea furniture... in what universe is that going to work in this timeframe?! Stand up and throw your weight on it until it snaps! I was wondering if he was actually trying to break the handcuffs (an equally stupid idea), and do we actually see how he gets out of them? Now I've confused myself.
Anyway, this will become an epic if I don't move on.
I quite liked the way the film looked, once we got to the evening the whole set became a beautiful golden autumnal palette and it gave you a sense of wealth and history, but when you add in the blood and seeking you get a real sense of the hiding (that makes sense in my head). It did at times become dark, it was never so bad that you couldn't see what was happening but it allowed for the reintroduction of light at the end as the house burns behind her which was a nice touch.
The final sequence should probably get its own mention. Alex, obviously about to break after seeing his brother die and Grace bludgeoning his mother, is bizarrely confirming his fears that the pair will not be together after what has happened. He then turns on her so he can get back the only thing left in his life, his (now slightly smaller) family. I loved the slightly vampiric turn the scene took as they're exposed to the morning sun, I'm not sure I'd have recoiled from it quite so much but I appreciated the comedic value it added. The family's actual demise and Grace's ghost sighting are the reason this needed to be a homedy (Still no? Whatever.), there's no way that fits in with anything more serious. And I'm sorry but overall I didn't find it that funny, much like Last Blood I was reacting to the ridiculous violence.
I like to think that as the last bit of the house disintegrates in the fire and Grace is still sitting bleeding on the steps that a firefighter comes over with the seemingly untouched magic box and hands it to her because it looks like a family heirloom. She's a Le Domas now, and everything is hers...
Full review originally posted on: https://emmaatthemovies.blogspot.com/2019/11/ready-or-not-spoilers-movie-review.html
Emma @ The Movies (1786 KP) rated 1917 (2020) in Movies
Jan 22, 2020
It has felt like a long wait to get to this film, there was a lot of talk when Midway was coming out so I was very glad it finally arrived.
Lance Corporal Blake has been told to report with another soldier, the respite from war was short but something important must be afoot. It's more than just important, it's life and death for Blake's older brother. His company have sent word that they're going to advance on the retreating German troops but communications are down and they don't know they're going headfirst into a trap.
Blake and Schofield are tasked with finding a way to their position to stop the advance before they lead 1,600 men into the ambush. Between them and their objective? No man's land, abandoned German trenches and large expanses of open land. One another and vigilance are all they have to get them to their objective.
I ended up seeing this twice on its opening weekend, mainly for technical reasons. When I completed my first watch I saw a lot of tweets about its "one-shot" filming and details of an interview about the filming techniques used, that all made me want to go back and watch for more detail.
If I'm honest with you I didn't notice the "one-shot" filming during my first trip to the cinema. In the interview I saw it said that there were no takes longer than 9 minutes, with its running time that meant that at the very least there were 14 cuts... of course I wanted to go and try to spot them. There were only a few "obvious" ones, but even then some of those felt so seamless that you wouldn't question if they said it was done in one (two) shot(s).
The effects in the film are fantastic, but also one of my only quibbles. There are several video clips with and without effects on floating around the internet and you'll see the massive effort that went into these effects. The major scene that comes to mind is in the trailer, Schofield is running across the field as the regiment is advancing around him. I had just assumed that the shot was aerial, but no, it was filmed from the back of a truck. That doesn't sound all that strange until you see in this video that the truck has a road to drive down that is then CGId out for the final cut. That was incredible to see. But this scene is also the only scene that made me doubt the effects too. When I watched it on the big screen it felt clear that some of the explosions were generated, and watching the clips proved that feeling to be right.
I could ramble on about the effects in this for ages but I need to remember there are other things to talk about... but well, I want to rave a little.
The nighttime scene is truly incredible to watch. It makes you paranoid and scared, you watch the shadows for soldiers and survivors, ugh, gripping and terrifying all at the same time.
Right, come one... move along, Emma!
Not much of a switch but I want to mention what I believe are mainly physical effects. One of the first scenes shows Blake and Schofield going through the trenches and over no man's land, walking through the trenches takes a long time, the fact they dug all of that and decked out the entire length for what is sometimes just a fleeting view. The soldiers as they sleep against the walls blending in like they're not there, the claustrophobic feeling as they walls creep higher and closer around them, and just the sheer volume of people down there. Both fast-paced and drawn out at the same time this whole sequence is complex and important.
After the trenches we see them go over the top into no man's land. The pair of them make an amazing job of playing in the mud. It's another part of the film that makes you look around. What's floating in the water? What's hidden in the mud? Truly spectacular additions and I imagine that on every viewing you'd see something different and horrific appear.
Come on, Emma... acting.
There are a lot of cameos from recognisable talented actors but the nature of the story means they're only the briefest of scenes. Mark Strong was probably my favourite of those, his tone at that critical part of the film was perfect.
To our main duo... Blake is played by Dean-Charles Chapman, a face I recognised but had to look up. I'd seen him most recently in The King and Blinded By The Light but clearly neither of those roles stuck with me. Schofield is played by George MacKay who I haven't seen in anything before. The pair had an interesting dynamic, there was certainly a camaraderie there but I swung between thinking they were good friends and just acquaintances because of their behaviour towards each other. Their characters felt very much at two ends of the scale, Blake optimistic and almost a little green, Schofield, battle-worn and sceptical.
Between the two I can easily say that George MacKay was the better performer. He does get some of the headier scenes to deal with but Chapman felt like he wasn't in a warzone. There were still good moments there but I wasn't as convinced by his performance. MacKay was acting even when he wasn't acting, his moments of silence were just as impressive as his scripted parts.
There is just so much in 1917 to look at, the background is so well thought out that you're drawn to it just as much as the action that's in the foreground. You're scanning everything as they move with them like you're a member of their regiment. It feels like it needs to be watched a couple of times. I watched it to see it, I watched it to watch the techniques and I feel like I want to see it again just to watch that background. None of these watches are for anything other than the technical side of things though. Even though I felt emotional connections with parts of the story it's still a basic quest with obstacles and while it's an interesting look at soldiers and their dedication it's not all that extraordinary.
This truly deserves to win a lot of technical awards. I'm not sure that the acting or script hit the same heights, but as a whole 1917 is definitely something special to see.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/1917-movie-review.html
Lance Corporal Blake has been told to report with another soldier, the respite from war was short but something important must be afoot. It's more than just important, it's life and death for Blake's older brother. His company have sent word that they're going to advance on the retreating German troops but communications are down and they don't know they're going headfirst into a trap.
Blake and Schofield are tasked with finding a way to their position to stop the advance before they lead 1,600 men into the ambush. Between them and their objective? No man's land, abandoned German trenches and large expanses of open land. One another and vigilance are all they have to get them to their objective.
I ended up seeing this twice on its opening weekend, mainly for technical reasons. When I completed my first watch I saw a lot of tweets about its "one-shot" filming and details of an interview about the filming techniques used, that all made me want to go back and watch for more detail.
If I'm honest with you I didn't notice the "one-shot" filming during my first trip to the cinema. In the interview I saw it said that there were no takes longer than 9 minutes, with its running time that meant that at the very least there were 14 cuts... of course I wanted to go and try to spot them. There were only a few "obvious" ones, but even then some of those felt so seamless that you wouldn't question if they said it was done in one (two) shot(s).
The effects in the film are fantastic, but also one of my only quibbles. There are several video clips with and without effects on floating around the internet and you'll see the massive effort that went into these effects. The major scene that comes to mind is in the trailer, Schofield is running across the field as the regiment is advancing around him. I had just assumed that the shot was aerial, but no, it was filmed from the back of a truck. That doesn't sound all that strange until you see in this video that the truck has a road to drive down that is then CGId out for the final cut. That was incredible to see. But this scene is also the only scene that made me doubt the effects too. When I watched it on the big screen it felt clear that some of the explosions were generated, and watching the clips proved that feeling to be right.
I could ramble on about the effects in this for ages but I need to remember there are other things to talk about... but well, I want to rave a little.
The nighttime scene is truly incredible to watch. It makes you paranoid and scared, you watch the shadows for soldiers and survivors, ugh, gripping and terrifying all at the same time.
Right, come one... move along, Emma!
Not much of a switch but I want to mention what I believe are mainly physical effects. One of the first scenes shows Blake and Schofield going through the trenches and over no man's land, walking through the trenches takes a long time, the fact they dug all of that and decked out the entire length for what is sometimes just a fleeting view. The soldiers as they sleep against the walls blending in like they're not there, the claustrophobic feeling as they walls creep higher and closer around them, and just the sheer volume of people down there. Both fast-paced and drawn out at the same time this whole sequence is complex and important.
After the trenches we see them go over the top into no man's land. The pair of them make an amazing job of playing in the mud. It's another part of the film that makes you look around. What's floating in the water? What's hidden in the mud? Truly spectacular additions and I imagine that on every viewing you'd see something different and horrific appear.
Come on, Emma... acting.
There are a lot of cameos from recognisable talented actors but the nature of the story means they're only the briefest of scenes. Mark Strong was probably my favourite of those, his tone at that critical part of the film was perfect.
To our main duo... Blake is played by Dean-Charles Chapman, a face I recognised but had to look up. I'd seen him most recently in The King and Blinded By The Light but clearly neither of those roles stuck with me. Schofield is played by George MacKay who I haven't seen in anything before. The pair had an interesting dynamic, there was certainly a camaraderie there but I swung between thinking they were good friends and just acquaintances because of their behaviour towards each other. Their characters felt very much at two ends of the scale, Blake optimistic and almost a little green, Schofield, battle-worn and sceptical.
Between the two I can easily say that George MacKay was the better performer. He does get some of the headier scenes to deal with but Chapman felt like he wasn't in a warzone. There were still good moments there but I wasn't as convinced by his performance. MacKay was acting even when he wasn't acting, his moments of silence were just as impressive as his scripted parts.
There is just so much in 1917 to look at, the background is so well thought out that you're drawn to it just as much as the action that's in the foreground. You're scanning everything as they move with them like you're a member of their regiment. It feels like it needs to be watched a couple of times. I watched it to see it, I watched it to watch the techniques and I feel like I want to see it again just to watch that background. None of these watches are for anything other than the technical side of things though. Even though I felt emotional connections with parts of the story it's still a basic quest with obstacles and while it's an interesting look at soldiers and their dedication it's not all that extraordinary.
This truly deserves to win a lot of technical awards. I'm not sure that the acting or script hit the same heights, but as a whole 1917 is definitely something special to see.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/1917-movie-review.html
Chris Sawin (602 KP) rated Black Widow (2021) in Movies
Oct 6, 2021
Florence Pugh (2 more)
The free-fall sequence at the end.
Taskmaster before the mask comes off.
It's way too long. (3 more)
The Taskmaster changes are weak.
It's as if the characters are fighting over who gets to be the comedic relief.
Familiar storyline.
Espionage Exhaustion
Black Widow is a film explaining what Natasha Romanoff (Scarlett Johansson) was up to in-between Captain America: Civil War and Avengers: Infinity War. The film was originally set to be released in May of 2020, but was pushed back and had three different release dates thanks to COVID-19. Unfortunately, most completed films that sit on the shelf and are in limbo for over a year rarely live up to the anticipation. Black Widow is worthwhile for a few key action sequences and notable characters that steal the spotlight, but is otherwise a mostly forgettable superhero film.
Marketed as a superhero film, Black Widow is also a spy thriller. Johansson has stated that films such as Logan, Harrison Ford’s The Fugitive, and Terminator 2: Judgment Day were influences. After Civil War, Thaddeus Ross (William Hurt) is on the hunt for Natasha Romanoff. Women like Natasha who have had similar training in a torturous training facility known as The Red Room are victims to brainwashing by a man named Dreykov (Ray Winstone), but a serum ends up in Natasha’s hands that can break Dreykov’s brainwashing. Natasha begins searching for The Red Room and Dreykov, which also has her crossing paths with other spies that posed as her family members; her “sister” Yelena Belova (Florence Pugh), her “father” Alexai Shostakov (David Harbour), and her “mother” Melina Vostokoff (Rachel Weisz).
The biggest selling point for Black Widow is that it’s a mostly female cast in front of and behind the camera. The film is directed by Cate Shortland and Black Widow is her first big budget feature. It’s also co-written by female screenwriter Jac Schaeffer (uncredited co-screenwriter of Captain Marvel) and Ned Benson (director of The Disappearance of Eleanor Rigby).
Taskmaster is cool in the film until you realize the character has been altered from his comic book origins. This isn’t uncommon in the MCU or even other live-action superhero adaptations, but what the character has become in the film will be received with mixed results. In the comics, Taskmaster’s real identity is Anthony Masters and he’s a mercenary not unlike Deadpool (the two have fought together and against each other). Copying fighting styles and weapon techniques is similar to the film, but it’s all thanks to his incredible memory and photographic reflexes.
The character is altered to fit the story in the Black Widow film. It’s not necessarily a bad thing as it gives a bigger purpose for the character since it suddenly becomes a major part of Natasha’s storyline, but how the character evolves over the course of the film seems to almost relieve Natasha of her past sins rather than continue to serve as a catalyst. Taskmaster is generally involved in some of the best hand-to-hand combat sequences, but seems to be left hanging by the end of the film. We could see the character again, but whether or not the desire is there to see Taskmaster return is debatable.
The free-fall sequence that has been teased in the trailers is Black Widow’s most unique source of action. There’s exploding elements and falling debris, Natasha trying to save someone’s life, and Taskmaster thrown in attempting to mess up whatever she has planned; plus a bunch of goons bringing up the rear that will obviously be taken out in peak fashion. The sequence is like a duel to the death taking place on the edge of a volcano that’s about to erupt. It’s on the verge of being overkill, but is just awesome enough to trigger all of the adrenaline in your body.
Kevin Feige apparently wanted an equal amount of screen time for both Natasha and Yelena. With the after-credits sequence, Natasha being very dead after the events of Infinity War, and the reports that Yelena may be the new Black Widow, she’s essentially the star of the film and for good reason. The character begins as an individual with a chip on her shoulder from someone from her past, but Florence Pugh is able to add humor and empathy with her performance. Yelena has the best one-liners in the film (“That would be a cool way to die,”) and is essentially the best source of comedic relief (i.e. her hysterectomy rant), as well. She is the one character in the film you’d want to see more of after Black Widow ends.
The storyline of Black Widow doesn’t feel like anything you haven’t experienced cinematically before, especially within the confines of the MCU. An evil man is responsible for pulling the strings of a bunch of women that would kick his ass otherwise. Unfortunately, Ray Winstone doesn’t feel all that intimidating as Dreykov since he doesn’t do much besides talk in Black Widow. The point is made in the film that is all there’s really needed of the character, but Dreykov’s biggest weapon is his mouth. However, his verbal skills don’t seem advantageous enough to make him such a threat let alone keep him alive for over 20 years.
It also feels like every MCU film has its on-screen characters competing over who can get the most laughs; this is something that only got worse after Thor: Ragnarok proved to be a success. Marvel films are already so formulaic with most villains being introduced and killed within the confines of a single film. Natasha’s spy family all feel like minor extensions of herself. Rachel Weisz, despite not aging a day in nearly 30 years, is forgettable as Melina. David Harbour is essentially his character from Stranger things cosplaying as Mr. Incredible with a Russian accent. Even Florence Pugh’s Yelena Belova character is basically a blonde younger version of Natasha even though they’re not related by blood.
Black Widow clocks in at over two hours and it feels like a film that could have been edited down. Witnessing the events of a dysfunctional spy family who then spend good chunks of the film reminiscing about those moments the audience has already seen is redundant storytelling that feels like nothing more than filler.
Black Widow is worth seeing for Florence Pugh, the free-fall action sequence, and anything involving Taskmaster before it’s revealed who is under the mask. Everything else about Black Widow feels like it was done better by the films it was supposedly influenced by and mostly feels like a diluted imitation of Captain America: The Winter Soldier. It’s fantastic that women are getting more opportunities in big summer blockbusters like this one, but it’s also disheartening since their filmmaking skills are shackled to formulaic superfluity that obviously stands in the way of creating extraordinary cinema.
Marketed as a superhero film, Black Widow is also a spy thriller. Johansson has stated that films such as Logan, Harrison Ford’s The Fugitive, and Terminator 2: Judgment Day were influences. After Civil War, Thaddeus Ross (William Hurt) is on the hunt for Natasha Romanoff. Women like Natasha who have had similar training in a torturous training facility known as The Red Room are victims to brainwashing by a man named Dreykov (Ray Winstone), but a serum ends up in Natasha’s hands that can break Dreykov’s brainwashing. Natasha begins searching for The Red Room and Dreykov, which also has her crossing paths with other spies that posed as her family members; her “sister” Yelena Belova (Florence Pugh), her “father” Alexai Shostakov (David Harbour), and her “mother” Melina Vostokoff (Rachel Weisz).
The biggest selling point for Black Widow is that it’s a mostly female cast in front of and behind the camera. The film is directed by Cate Shortland and Black Widow is her first big budget feature. It’s also co-written by female screenwriter Jac Schaeffer (uncredited co-screenwriter of Captain Marvel) and Ned Benson (director of The Disappearance of Eleanor Rigby).
Taskmaster is cool in the film until you realize the character has been altered from his comic book origins. This isn’t uncommon in the MCU or even other live-action superhero adaptations, but what the character has become in the film will be received with mixed results. In the comics, Taskmaster’s real identity is Anthony Masters and he’s a mercenary not unlike Deadpool (the two have fought together and against each other). Copying fighting styles and weapon techniques is similar to the film, but it’s all thanks to his incredible memory and photographic reflexes.
The character is altered to fit the story in the Black Widow film. It’s not necessarily a bad thing as it gives a bigger purpose for the character since it suddenly becomes a major part of Natasha’s storyline, but how the character evolves over the course of the film seems to almost relieve Natasha of her past sins rather than continue to serve as a catalyst. Taskmaster is generally involved in some of the best hand-to-hand combat sequences, but seems to be left hanging by the end of the film. We could see the character again, but whether or not the desire is there to see Taskmaster return is debatable.
The free-fall sequence that has been teased in the trailers is Black Widow’s most unique source of action. There’s exploding elements and falling debris, Natasha trying to save someone’s life, and Taskmaster thrown in attempting to mess up whatever she has planned; plus a bunch of goons bringing up the rear that will obviously be taken out in peak fashion. The sequence is like a duel to the death taking place on the edge of a volcano that’s about to erupt. It’s on the verge of being overkill, but is just awesome enough to trigger all of the adrenaline in your body.
Kevin Feige apparently wanted an equal amount of screen time for both Natasha and Yelena. With the after-credits sequence, Natasha being very dead after the events of Infinity War, and the reports that Yelena may be the new Black Widow, she’s essentially the star of the film and for good reason. The character begins as an individual with a chip on her shoulder from someone from her past, but Florence Pugh is able to add humor and empathy with her performance. Yelena has the best one-liners in the film (“That would be a cool way to die,”) and is essentially the best source of comedic relief (i.e. her hysterectomy rant), as well. She is the one character in the film you’d want to see more of after Black Widow ends.
The storyline of Black Widow doesn’t feel like anything you haven’t experienced cinematically before, especially within the confines of the MCU. An evil man is responsible for pulling the strings of a bunch of women that would kick his ass otherwise. Unfortunately, Ray Winstone doesn’t feel all that intimidating as Dreykov since he doesn’t do much besides talk in Black Widow. The point is made in the film that is all there’s really needed of the character, but Dreykov’s biggest weapon is his mouth. However, his verbal skills don’t seem advantageous enough to make him such a threat let alone keep him alive for over 20 years.
It also feels like every MCU film has its on-screen characters competing over who can get the most laughs; this is something that only got worse after Thor: Ragnarok proved to be a success. Marvel films are already so formulaic with most villains being introduced and killed within the confines of a single film. Natasha’s spy family all feel like minor extensions of herself. Rachel Weisz, despite not aging a day in nearly 30 years, is forgettable as Melina. David Harbour is essentially his character from Stranger things cosplaying as Mr. Incredible with a Russian accent. Even Florence Pugh’s Yelena Belova character is basically a blonde younger version of Natasha even though they’re not related by blood.
Black Widow clocks in at over two hours and it feels like a film that could have been edited down. Witnessing the events of a dysfunctional spy family who then spend good chunks of the film reminiscing about those moments the audience has already seen is redundant storytelling that feels like nothing more than filler.
Black Widow is worth seeing for Florence Pugh, the free-fall action sequence, and anything involving Taskmaster before it’s revealed who is under the mask. Everything else about Black Widow feels like it was done better by the films it was supposedly influenced by and mostly feels like a diluted imitation of Captain America: The Winter Soldier. It’s fantastic that women are getting more opportunities in big summer blockbusters like this one, but it’s also disheartening since their filmmaking skills are shackled to formulaic superfluity that obviously stands in the way of creating extraordinary cinema.