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Bob Mann (459 KP) rated Blade Runner 2049 (2017) in Movies
Sep 29, 2021
A stunning visual triumph.
I was a sufficient nerd to buy a “Back to the Future” T-shirt to celebrate “future day” from “Back to the Future 2” two-years ago, and I will probably be a sufficient nerd to buy a “Blade Runner” T-shirt in two-years time to celebrate the setting-date for the original film. One thing’s for sure… 2049 is never going to be long enough away to see the world of the new Blade Runner movie come to fruition: so I look forward to ironically buying that T-shirt too (assuming I make it to 88!). But I digress.
I lived in fear of this film since it was announced… having loved the original, a sequel was always going to be a risky prospect. But my fears were slightly quelled when I learned that Denis Villeneuve (“Arrival“) was at the helm. And having now seen it I am pleasantly relieved: this is a memorable film.
In 2049 the first-generation Nexus replicants of the original film are still causing problems, and Ryan Gosling is ‘K’ – a blade runner employed by LAPD lieutenant Joshi (Robin Wright, “Wonder Woman“, “House of Cards”) to track them down and liquidate them. On one of these missions, K uncovers a buried secret that brings the LAPD into a desperate race for a pivotal prize, against replicant-builder Niander Wallace (Jared Leto, “Dallas Buyer’s Club“) and his henchwoman Luv (Sylvia Hoeks). The mission leads to K searching out his illustrious predecessor Deckard (Harrison Ford), who is not keen to be found.
Firstly (and most impressively) this is a spectacle to watch…. “I’ve seen things…”! The visuals are just gorgeous, from the junk-yards of Greater Los Angeles to the radioactive ruins of Las Vegas, vividly glowing amber to glorious effect. Hardly a surprise with Roger Deakins (“Hail Caesar“, “Sicario“) behind the camera, but Adam Heinis (“Rogue One“) and the rest of his special effects team deserve kudos for the effects never feeling overly “CGI-like”.
The music (by Benjamin Wallfisch and Hans Zimmer, via a replaced Johann Johannsson) pays suitable tribute to the spirit of the original Vangelis soundtrack. (It’s curious though that “Tears in the Rain” from the soundtrack is a reworking of the Vangelis original, but Vangelis doesn’t seem to be credited anywhere! Vangelis and Ridley Scott clearly had a SERIOUS falling out!).
On the acting front, Ryan Gosling is his dynamic self as usual! (But here, somewhat justified). Harrison Ford is given very little screen time, but what he does do he does exceptionally well – his best performance in years. It’s some of the supporting parts though that really appeal: Dave Bautista (“Spectre“) is just superb in the opening scenes of the film, and I particularly enjoyed Ana de Armas’s portrayal of K’s holographic girlfriend Joi. I’ve seen comment in other reviews that described this relationship as “laughable” and a downward step for “woman’s rights” compared to Villeneuve’s previous strong female characters (of Louise from “Arrival” and Kate from “Sicario“). But I disagree! I found the relationship truly touching, with Joi’s procurement of a prostitute (Mackenzie Davis) to act as a surrogate body being both loving and giving. And as regards ‘woman’s rights’, come on! Get serious! This is a holographic commercial male companion…. the “Alexa” of the future…. I’m quite sure the male version looks like Ryan Reynolds! Sex still sells, even in 2049!!
My favourite character though was a cameo by Barkhad Abdi (“Captain Phillips“) luxoriating under the name of Doctor Badger!
I was less comfortable with Jared Leto’s dialogue which – for me at least – was barely audible. In general this film is both a challenge for those aurally challenged (with some fuzzy dialogue/effects/music mixes) and those visually challenged (with 8 point font for the on-screen text that was almost impossible to see on the cinema screen, so good luck with the DVD!).
I really wanted to give this film 5-Fads. But I can’t quite get there. The story – while interesting and having emotional depth – is lightweight for a film of this length (a butt-numbing 163 minutes!) and it moves at such a glacial pace that I’m ashamed to say that my mind wandered at times. (Specifically to how many different ways I could imagine harm being done to the American guy in front of me, who was constantly turning on his Apple watch and at one point (to whisperings of very British outrage!) his full-brightness iPhone!) The screenplay was by Hampton Fancher (one of the original Blade Runner writers) and Michael Green (“Logan“, “Alien: Covenant“) but even with this track record, it’s the film’s Achilles heel.
It’s a relief that Blade Runner revisited is not a complete disaster: quite the opposite in fact. It doesn’t quite match C-beams glittering in the dark near the Tannhäuser Gate (what could)… but its a damned good attempt.
I lived in fear of this film since it was announced… having loved the original, a sequel was always going to be a risky prospect. But my fears were slightly quelled when I learned that Denis Villeneuve (“Arrival“) was at the helm. And having now seen it I am pleasantly relieved: this is a memorable film.
In 2049 the first-generation Nexus replicants of the original film are still causing problems, and Ryan Gosling is ‘K’ – a blade runner employed by LAPD lieutenant Joshi (Robin Wright, “Wonder Woman“, “House of Cards”) to track them down and liquidate them. On one of these missions, K uncovers a buried secret that brings the LAPD into a desperate race for a pivotal prize, against replicant-builder Niander Wallace (Jared Leto, “Dallas Buyer’s Club“) and his henchwoman Luv (Sylvia Hoeks). The mission leads to K searching out his illustrious predecessor Deckard (Harrison Ford), who is not keen to be found.
Firstly (and most impressively) this is a spectacle to watch…. “I’ve seen things…”! The visuals are just gorgeous, from the junk-yards of Greater Los Angeles to the radioactive ruins of Las Vegas, vividly glowing amber to glorious effect. Hardly a surprise with Roger Deakins (“Hail Caesar“, “Sicario“) behind the camera, but Adam Heinis (“Rogue One“) and the rest of his special effects team deserve kudos for the effects never feeling overly “CGI-like”.
The music (by Benjamin Wallfisch and Hans Zimmer, via a replaced Johann Johannsson) pays suitable tribute to the spirit of the original Vangelis soundtrack. (It’s curious though that “Tears in the Rain” from the soundtrack is a reworking of the Vangelis original, but Vangelis doesn’t seem to be credited anywhere! Vangelis and Ridley Scott clearly had a SERIOUS falling out!).
On the acting front, Ryan Gosling is his dynamic self as usual! (But here, somewhat justified). Harrison Ford is given very little screen time, but what he does do he does exceptionally well – his best performance in years. It’s some of the supporting parts though that really appeal: Dave Bautista (“Spectre“) is just superb in the opening scenes of the film, and I particularly enjoyed Ana de Armas’s portrayal of K’s holographic girlfriend Joi. I’ve seen comment in other reviews that described this relationship as “laughable” and a downward step for “woman’s rights” compared to Villeneuve’s previous strong female characters (of Louise from “Arrival” and Kate from “Sicario“). But I disagree! I found the relationship truly touching, with Joi’s procurement of a prostitute (Mackenzie Davis) to act as a surrogate body being both loving and giving. And as regards ‘woman’s rights’, come on! Get serious! This is a holographic commercial male companion…. the “Alexa” of the future…. I’m quite sure the male version looks like Ryan Reynolds! Sex still sells, even in 2049!!
My favourite character though was a cameo by Barkhad Abdi (“Captain Phillips“) luxoriating under the name of Doctor Badger!
I was less comfortable with Jared Leto’s dialogue which – for me at least – was barely audible. In general this film is both a challenge for those aurally challenged (with some fuzzy dialogue/effects/music mixes) and those visually challenged (with 8 point font for the on-screen text that was almost impossible to see on the cinema screen, so good luck with the DVD!).
I really wanted to give this film 5-Fads. But I can’t quite get there. The story – while interesting and having emotional depth – is lightweight for a film of this length (a butt-numbing 163 minutes!) and it moves at such a glacial pace that I’m ashamed to say that my mind wandered at times. (Specifically to how many different ways I could imagine harm being done to the American guy in front of me, who was constantly turning on his Apple watch and at one point (to whisperings of very British outrage!) his full-brightness iPhone!) The screenplay was by Hampton Fancher (one of the original Blade Runner writers) and Michael Green (“Logan“, “Alien: Covenant“) but even with this track record, it’s the film’s Achilles heel.
It’s a relief that Blade Runner revisited is not a complete disaster: quite the opposite in fact. It doesn’t quite match C-beams glittering in the dark near the Tannhäuser Gate (what could)… but its a damned good attempt.
Purple Phoenix Games (2266 KP) rated Ticket to Ride in Tabletop Games
Jan 9, 2020
I am one of the remaining few who reviewers who haven’t put in their two cents on Ticket to Ride. Why? Is it bad? No. Am I lazy? No. It’s really because I don’t think I have anything new to say about it that hasn’t already been said a hundred times. So this review on this game will be a little different from me. Instead of going over the rules and such (however truncated they typically are from me) I will question how well this game has aged for me.
Ticket to Ride is one of those games that has really hit it big in the mass market. You can find it all over in big box stores, in FLGS, online, secondary market, just everywhere. But why? And for this long? Ticket to Ride (TTR) came out in 2004. A mere 15 years ago. While that doesn’t really sound like a long time, in contrast to today’s game industry it is an eternity. With thousands upon thousands of games being released into the market through direct publish, Kickstarter/crowd funding, and big releases at conventions it’s hard to believe that you can still find this hanging with the exciting, fresh new games.
What I truly believe is magical about this game is its simplicity. “You have two main options: take some cards or play some cards.” When you can start a teach of a game by saying that, your players are invested right away because they know you aren’t going to bog them down with rules upon rules. “If you decide to take cards you can take these colored train cards or you can take new route ticket cards.” So now players have two choices from gaining cards. “If you decide to play cards you need to play cards of a color and number matching whichever route between two connecting cities on the map you like.” Done. The game is explained. Yeah, you can fight me about the endgame scoring stuff like longest route and whatnot, but for new gamers, you have explained this classic in three sentences. It’s so beautiful when a game allows you to teach it so quickly.
But that surely means that this is an easy game, right? With so few rules and such. Well, no. It’s not really “easy” at all. While your main rules are light, the strategy and tactics during play can cause feelings of joy and delight as well as frustration and concern as you see someone claim the route you need to connect to two cities on the map. Of course, you can’t explain that to your new players right away. You want them to experience these feelings organically and fully. It’s what makes TTR a really great game: having your well-laid plans just shot to smithereens by the guy who can’t tell the difference between the white train cars and the wild rainbow train cars.
DISCLAIMER: I play with the 1910 expansion, which is a MUST. The larger cards are way easier to play with. See photo below with comparisons from base game on bottom with the larger 1910 cards above. YMMV, but I will always play using this expansion. -T
Components. Let’s compare components to some current or newer games. The game board is laid out really well, and the artwork is sparse and not over-busy on the board. This is a HUGE plus for me. I like nothing more than for the board to offer thematic elements and feeling without pelting my eyes with too much distraction. The cards were a bad choice. Not because the art or the quality on them is bad – because that’s not what I am saying. The size of the cards was a poor choice. I did purchase the 1910 expansion and simply will not play my copy without it. I recently played TTR for GenCan’t 2019 at my FLGS with OG base cards and found myself dreaming of the 1910 cards. The score tracker discs are of industry-standard quality for scoring discs. The plastic train car pieces are still just as wonderful to handle and play with as are many other more modern components. Seriously just as good. TTR components (and really, most of the time Days of Wonder components in general) are really great.
So do I still enjoy playing it? You betcha, don’tcha know. I still love seeing the board in front of me, agonizing over the route tickets I am dealt, and trying to decide if I should go for the New York to Los Angeles, or keep it simple with multiple routes along the Mississippi River. I still love the panic that ensues when I see people hoarding train cards, just knowing that they will soon be on the attack and their train car collection will dwindle to almost endgame levels in too few rounds for me to complete my masterpiece. I guess I still really love it.
Is Ticket to Ride my favorite game? No. But I’ll tell you what. I hadn’t played it in a couple years, and after this weekend’s play, it has moved up on my list by several spaces. It still holds a special place in my heart, and also the hearts of my team. That’s why Purple Phoenix Games gives Ticket to Ride a retrospective 20 / 24. It’s still great!
Ticket to Ride is one of those games that has really hit it big in the mass market. You can find it all over in big box stores, in FLGS, online, secondary market, just everywhere. But why? And for this long? Ticket to Ride (TTR) came out in 2004. A mere 15 years ago. While that doesn’t really sound like a long time, in contrast to today’s game industry it is an eternity. With thousands upon thousands of games being released into the market through direct publish, Kickstarter/crowd funding, and big releases at conventions it’s hard to believe that you can still find this hanging with the exciting, fresh new games.
What I truly believe is magical about this game is its simplicity. “You have two main options: take some cards or play some cards.” When you can start a teach of a game by saying that, your players are invested right away because they know you aren’t going to bog them down with rules upon rules. “If you decide to take cards you can take these colored train cards or you can take new route ticket cards.” So now players have two choices from gaining cards. “If you decide to play cards you need to play cards of a color and number matching whichever route between two connecting cities on the map you like.” Done. The game is explained. Yeah, you can fight me about the endgame scoring stuff like longest route and whatnot, but for new gamers, you have explained this classic in three sentences. It’s so beautiful when a game allows you to teach it so quickly.
But that surely means that this is an easy game, right? With so few rules and such. Well, no. It’s not really “easy” at all. While your main rules are light, the strategy and tactics during play can cause feelings of joy and delight as well as frustration and concern as you see someone claim the route you need to connect to two cities on the map. Of course, you can’t explain that to your new players right away. You want them to experience these feelings organically and fully. It’s what makes TTR a really great game: having your well-laid plans just shot to smithereens by the guy who can’t tell the difference between the white train cars and the wild rainbow train cars.
DISCLAIMER: I play with the 1910 expansion, which is a MUST. The larger cards are way easier to play with. See photo below with comparisons from base game on bottom with the larger 1910 cards above. YMMV, but I will always play using this expansion. -T
Components. Let’s compare components to some current or newer games. The game board is laid out really well, and the artwork is sparse and not over-busy on the board. This is a HUGE plus for me. I like nothing more than for the board to offer thematic elements and feeling without pelting my eyes with too much distraction. The cards were a bad choice. Not because the art or the quality on them is bad – because that’s not what I am saying. The size of the cards was a poor choice. I did purchase the 1910 expansion and simply will not play my copy without it. I recently played TTR for GenCan’t 2019 at my FLGS with OG base cards and found myself dreaming of the 1910 cards. The score tracker discs are of industry-standard quality for scoring discs. The plastic train car pieces are still just as wonderful to handle and play with as are many other more modern components. Seriously just as good. TTR components (and really, most of the time Days of Wonder components in general) are really great.
So do I still enjoy playing it? You betcha, don’tcha know. I still love seeing the board in front of me, agonizing over the route tickets I am dealt, and trying to decide if I should go for the New York to Los Angeles, or keep it simple with multiple routes along the Mississippi River. I still love the panic that ensues when I see people hoarding train cards, just knowing that they will soon be on the attack and their train car collection will dwindle to almost endgame levels in too few rounds for me to complete my masterpiece. I guess I still really love it.
Is Ticket to Ride my favorite game? No. But I’ll tell you what. I hadn’t played it in a couple years, and after this weekend’s play, it has moved up on my list by several spaces. It still holds a special place in my heart, and also the hearts of my team. That’s why Purple Phoenix Games gives Ticket to Ride a retrospective 20 / 24. It’s still great!
Chris Sawin (602 KP) rated Fast & Furious Presents: Hobbs & Shaw (2019) in Movies
Aug 6, 2019
Before you read this review of Fast & Furious Presents: Hobbs & Shaw, I just want you to know that I can’t stand this franchise. I gave up keeping up with them after Furious 7 and felt like the Fast & Furious franchise peaked/was tolerable around Fast Five and never really went anywhere worthwhile before or since. I have not seen all the films and really only seemed to watch every other entry, but whether you’re in a heist or a drag race that lethal dose of masculinity being projectile vomited all over you by an entire cast (women included) for two hours straight is dull and tiresome. In fact, just call this franchise “Dull & Tiresome” from here on out and I doubt anyone would notice. It’s even got “tire” in there for car…stuff.
Ignoring the fact that screenwriters Chris Morgan (writer of every Fast and Furious entry since Tokyo Drift) and Drew Pearce (writer and director of the flop known as Hotel Artemis) were involved, I actually like David Leitch’s work (co-director of John Wick, director of Deadpool 2 and Atomic Blonde) even if he is probably going to screw up that Enter the Dragon remake. The trailers also made Hobbs & Shaw look like the stupid kind of action film I might enjoy; a bunch of fight scenes and chase sequences that give the middle finger to physics. But when a big moment in the film is a group of the good guys willingly bringing a bunch of sharp sticks to a battle where the villains are loaded to the teeth with highly advanced firearms, then you know you’ve jumped headfirst into the deep end of ridiculous without a special needs helmet.
The film is quick to point out that even though Luke Hobbs (Dwayne Johnson) is in Los Angeles and Deckard Shaw (Jason Statham) is in London, they’re essentially similar characters. Hobbs is a big dude who likes to Hulk smash everything while Shaw likes to think he has more class and finesse to his ass beatings and exaggerated torture devices. Despite their different cultures and supposedly unique way of approaching their work, they do nothing but talk trash, jack things up, simultaneously kick unsuspecting guys in the balls, and track stuff that needs tracking because that’s what trackers do. They reluctantly join forces and are in constant competition with one another to find some CT17 virus, which is currently inside Shaw’s MI6 operative sister Hattie Shaw (Vanessa Kirby) and is being hunted by formerly dead, cyber genetically altered, and current superhuman criminal mastermind Brixton Lore (Idris Elba). Don’t get too attached to the whole virus thing since even the film can’t keep up with what the hell it’s supposed to be.
The highlight of Hobbs & Shaw is the amount of cameos it’s able to squeeze into its excruciating two-hour-and-fifteen-minute runtime. The film utilizes about a third of the cast of a certain sequel to a certain film starring a certain Regenerating Degenerate and that cast is responsible for the humor that works best in whatever this spinoff is supposed to accomplish. Idris Elba is unbelievably cool as Brixton Lore. He’s this cocky and unstoppable bad ass who has a history with Shaw and his car chase on his self-driving motorcycle where he slides under a bus in slow motion is too sick for words. Vanessa Kirby has this on-screen presence that outshines the consistent bickering between Hobbs and Shaw. She’s the one capable female character in the film (Helen Mirren sitting behind glass doesn’t count) who seems to be the only one thinking logically, but it took her doing the dumbest thing imaginable at the beginning of the film to get that way.
This action film smorgasbord rides on the chemistry between Dwayne Johnson and Jason Statham, but that gets old as soon as they start sort-of working together. Their incessant ribbing of each other, desire to always outdo one another, and nonstop unfiltered machismo being this palpable elephant in the room leads to nothing but verbal dick size comparisons and leaves you thinking that maybe they’ll make out or grope each other by the end of the film. Spoiler alert: maybe they’re saving that for the sequel.
There isn’t enough of a differentiation between action sequences in Hobbs & Shaw to make it feel worthwhile. There’s chemistry between the cast that is undeniable and some of its outrageousness is entertaining, but it all begins to feel similar and falls apart far sooner than it should. For those who care, there is a mid-credits and after-credits scene but neither is surprising. The cheesy motivational speeches, forced heartfelt stories, and, “all technology in the world doesn’t beat heart,” mumbo jumbo doesn’t help matters. The supposed story for this film is basically a dunce cap disguised as a pocket protector. There are intelligent elements used in ludicrous ways and maybe that’s what could describe the Fast & Furious franchise as a whole. You can bury a diamond in a dog turd and say it’s extravagant and that it’s valuable, but it’s still a dog turd that smells awful and lingers long after it’s been flushed away.
Ignoring the fact that screenwriters Chris Morgan (writer of every Fast and Furious entry since Tokyo Drift) and Drew Pearce (writer and director of the flop known as Hotel Artemis) were involved, I actually like David Leitch’s work (co-director of John Wick, director of Deadpool 2 and Atomic Blonde) even if he is probably going to screw up that Enter the Dragon remake. The trailers also made Hobbs & Shaw look like the stupid kind of action film I might enjoy; a bunch of fight scenes and chase sequences that give the middle finger to physics. But when a big moment in the film is a group of the good guys willingly bringing a bunch of sharp sticks to a battle where the villains are loaded to the teeth with highly advanced firearms, then you know you’ve jumped headfirst into the deep end of ridiculous without a special needs helmet.
The film is quick to point out that even though Luke Hobbs (Dwayne Johnson) is in Los Angeles and Deckard Shaw (Jason Statham) is in London, they’re essentially similar characters. Hobbs is a big dude who likes to Hulk smash everything while Shaw likes to think he has more class and finesse to his ass beatings and exaggerated torture devices. Despite their different cultures and supposedly unique way of approaching their work, they do nothing but talk trash, jack things up, simultaneously kick unsuspecting guys in the balls, and track stuff that needs tracking because that’s what trackers do. They reluctantly join forces and are in constant competition with one another to find some CT17 virus, which is currently inside Shaw’s MI6 operative sister Hattie Shaw (Vanessa Kirby) and is being hunted by formerly dead, cyber genetically altered, and current superhuman criminal mastermind Brixton Lore (Idris Elba). Don’t get too attached to the whole virus thing since even the film can’t keep up with what the hell it’s supposed to be.
The highlight of Hobbs & Shaw is the amount of cameos it’s able to squeeze into its excruciating two-hour-and-fifteen-minute runtime. The film utilizes about a third of the cast of a certain sequel to a certain film starring a certain Regenerating Degenerate and that cast is responsible for the humor that works best in whatever this spinoff is supposed to accomplish. Idris Elba is unbelievably cool as Brixton Lore. He’s this cocky and unstoppable bad ass who has a history with Shaw and his car chase on his self-driving motorcycle where he slides under a bus in slow motion is too sick for words. Vanessa Kirby has this on-screen presence that outshines the consistent bickering between Hobbs and Shaw. She’s the one capable female character in the film (Helen Mirren sitting behind glass doesn’t count) who seems to be the only one thinking logically, but it took her doing the dumbest thing imaginable at the beginning of the film to get that way.
This action film smorgasbord rides on the chemistry between Dwayne Johnson and Jason Statham, but that gets old as soon as they start sort-of working together. Their incessant ribbing of each other, desire to always outdo one another, and nonstop unfiltered machismo being this palpable elephant in the room leads to nothing but verbal dick size comparisons and leaves you thinking that maybe they’ll make out or grope each other by the end of the film. Spoiler alert: maybe they’re saving that for the sequel.
There isn’t enough of a differentiation between action sequences in Hobbs & Shaw to make it feel worthwhile. There’s chemistry between the cast that is undeniable and some of its outrageousness is entertaining, but it all begins to feel similar and falls apart far sooner than it should. For those who care, there is a mid-credits and after-credits scene but neither is surprising. The cheesy motivational speeches, forced heartfelt stories, and, “all technology in the world doesn’t beat heart,” mumbo jumbo doesn’t help matters. The supposed story for this film is basically a dunce cap disguised as a pocket protector. There are intelligent elements used in ludicrous ways and maybe that’s what could describe the Fast & Furious franchise as a whole. You can bury a diamond in a dog turd and say it’s extravagant and that it’s valuable, but it’s still a dog turd that smells awful and lingers long after it’s been flushed away.
Gareth von Kallenbach (965 KP) rated End of Watch (2012) in Movies
Aug 7, 2019
Director/Writer David Ayer (Street Kings, Training day) once again takes us into the world of the Los Angeles police department in the new movie End of Watch. Only this time rather than go in the corrupt police officer direction he has gone before, Ayer instead takes audiences on a honest and somewhat realistic emotionally charged ride along with two young and confident LAPD patrolmen.
While the story in this film is as simple as two cops over reaching their pay grades causing them to get on a drug cartels hit list. The film is more like an unrated extended episode of the TV series Cops, focusing on the everyday encounters of our heroes as they patrol south central LA. These encounters range from calls for lost children, domestic disturbance, and noise violations, albeit a bit exaggerated in these and several other incidents. Still the various types of encounters cause the film to feel like a true ride along into the lives of these LAPD cops. Additionally the use of the handheld “found footage” film style works surprisingly well at giving the movie that TV episodic style that makes the overall experience feel realistic. That being said, there are a few scenes where it is not clear who is holding the camera or where the shot is coming from, however these scenes are barely noticeable because of the excellent performances by our protagonists that keeps our interest on what they are saying and doing on screen rather than who is holding the camera.
Officer Bryan Taylor (Jake Gyllenhaal, Source Code) is our main protagonist of this movie. The ex-marine turned cop has to take an art elective in his pre-law studies and decides to take a documentary film class and take us on the inside of the LAPD. Gyllenhaal ‘s performance embodies Taylor as the good natured ambitious officer wanting more in his life of relationships and career. It would be easy for this character to be the traditional good cop in movies like this however given the found footage film style we instead find that Taylor, while good, can also be a complete “jerk” cop who is quick to anger and use brutish force when he deems necessary. This only helps solidify the rawness and reality of this film which pays a nod to the difficult nature of this job for real life police officers. Gyllenhaal gives yet another outstanding performance in his career causing us to grow attached to his character and respect him.
In addition Michel Pena (Crash) delivers a fantastic performance as Taylor’s partner and best friend Officer Mike Zavala. Pena embodies the other side to Gyllenhaal’s “jerk” cop by with his own good natured, simple man who is quick to become a bull when pushed. No more is this better shown in a scene where Zavala and a gang member get into a war of words and caused Zavala to drop his gun and badge and fight man to man to settle their dispute in the “street” way. Thus earning respect from that particular gang member.
Together Gyllenhaal and Pena share the screen wonderfully. Their relationship seems effortless and natural as if they were actually partners and best friends. You can tell they are having fun on set working together and it shows in their performance together as they really get a sense that they are more than partners and friends but are in fact, brothers. Their relationship and characters are only developed further as we watch Taylor pursue a deeper intellectual relationship with scientist Janet (Anna Kendrick, Up In The Air) and Zavala through the birth of his first born from wife Gabby (Natalie Martinez, Death Race). Kendrick and Martinez give believable performances as love interests to our heroes that show us a more human and softer side of these testosterone filled officers who will do whatever it takes to uphold the law. Throw in a strong supporting cast of other police officers led by Frank Grillo (Warrior) who plays the LAPD’s sergeant and you have a performance where we not only care about our heroes but we see the brotherhood of the police force in general.
One thing that I was not expecting from the film is the amount of moments where the audience literally laughed out loud. That is not to say that this is a comedy, in fact it is far from it. But the quick witted jokes and verbal jabs by our onscreen partners help alleviate some of the heavy emotional scenes of the movie. I felt that these characters used that good natured humor to keep themselves from going off of the deep end in handling all of the gruesome encounters they witness. These well placed laughs helped the audience deal with these gruesome scenes as well and helped strengthen our bond with these brothers.
All in all, this movie is a buddy cop film on steroids. While there is not much of a traditional story arch, this helps develop the realistic feel more like an unrated extended episode of Cops. That being said Gyllenhaal and Pena deliver a fantastic performance together. They have a real connection that makes you believe they have been partners for years and consider each other brothers. Add in a solid ensemble cast and the overall experience is worth the price of admission. However those who grow motion sick from found footage films may want to stay clear as there is a definite lack of steady cam
While the story in this film is as simple as two cops over reaching their pay grades causing them to get on a drug cartels hit list. The film is more like an unrated extended episode of the TV series Cops, focusing on the everyday encounters of our heroes as they patrol south central LA. These encounters range from calls for lost children, domestic disturbance, and noise violations, albeit a bit exaggerated in these and several other incidents. Still the various types of encounters cause the film to feel like a true ride along into the lives of these LAPD cops. Additionally the use of the handheld “found footage” film style works surprisingly well at giving the movie that TV episodic style that makes the overall experience feel realistic. That being said, there are a few scenes where it is not clear who is holding the camera or where the shot is coming from, however these scenes are barely noticeable because of the excellent performances by our protagonists that keeps our interest on what they are saying and doing on screen rather than who is holding the camera.
Officer Bryan Taylor (Jake Gyllenhaal, Source Code) is our main protagonist of this movie. The ex-marine turned cop has to take an art elective in his pre-law studies and decides to take a documentary film class and take us on the inside of the LAPD. Gyllenhaal ‘s performance embodies Taylor as the good natured ambitious officer wanting more in his life of relationships and career. It would be easy for this character to be the traditional good cop in movies like this however given the found footage film style we instead find that Taylor, while good, can also be a complete “jerk” cop who is quick to anger and use brutish force when he deems necessary. This only helps solidify the rawness and reality of this film which pays a nod to the difficult nature of this job for real life police officers. Gyllenhaal gives yet another outstanding performance in his career causing us to grow attached to his character and respect him.
In addition Michel Pena (Crash) delivers a fantastic performance as Taylor’s partner and best friend Officer Mike Zavala. Pena embodies the other side to Gyllenhaal’s “jerk” cop by with his own good natured, simple man who is quick to become a bull when pushed. No more is this better shown in a scene where Zavala and a gang member get into a war of words and caused Zavala to drop his gun and badge and fight man to man to settle their dispute in the “street” way. Thus earning respect from that particular gang member.
Together Gyllenhaal and Pena share the screen wonderfully. Their relationship seems effortless and natural as if they were actually partners and best friends. You can tell they are having fun on set working together and it shows in their performance together as they really get a sense that they are more than partners and friends but are in fact, brothers. Their relationship and characters are only developed further as we watch Taylor pursue a deeper intellectual relationship with scientist Janet (Anna Kendrick, Up In The Air) and Zavala through the birth of his first born from wife Gabby (Natalie Martinez, Death Race). Kendrick and Martinez give believable performances as love interests to our heroes that show us a more human and softer side of these testosterone filled officers who will do whatever it takes to uphold the law. Throw in a strong supporting cast of other police officers led by Frank Grillo (Warrior) who plays the LAPD’s sergeant and you have a performance where we not only care about our heroes but we see the brotherhood of the police force in general.
One thing that I was not expecting from the film is the amount of moments where the audience literally laughed out loud. That is not to say that this is a comedy, in fact it is far from it. But the quick witted jokes and verbal jabs by our onscreen partners help alleviate some of the heavy emotional scenes of the movie. I felt that these characters used that good natured humor to keep themselves from going off of the deep end in handling all of the gruesome encounters they witness. These well placed laughs helped the audience deal with these gruesome scenes as well and helped strengthen our bond with these brothers.
All in all, this movie is a buddy cop film on steroids. While there is not much of a traditional story arch, this helps develop the realistic feel more like an unrated extended episode of Cops. That being said Gyllenhaal and Pena deliver a fantastic performance together. They have a real connection that makes you believe they have been partners for years and consider each other brothers. Add in a solid ensemble cast and the overall experience is worth the price of admission. However those who grow motion sick from found footage films may want to stay clear as there is a definite lack of steady cam
Matthew Krueger (10051 KP) rated A Nightmare on Elm Street (1984) in Movies
Jul 3, 2020
Introduce a horror icon (3 more)
Robert Englund
Freddy
Wes Craven
Whatever you do, don’t fall asleep!
Contains spoilers, click to show
A Nightmare on Elm Street- is one of my all time favorite horror films. Its also one of the greatest horror movies of all time. That being said, the ending sucks and i will get to that, but first lets talk more about the film.
I just love the idea of someone who appears in your dreams. Someone who stalks you, someone who messes with you, someone who kills you in your dreams. Now Wes got the idea from several newspaper articles printed in the Los Angeles Times in the 1970s about Southeast Asian refugees, who, after fleeing to the United States because of war and genocide in Laos, Cambodia, and Vietnam, suffered disturbing nightmares and refused to sleep. Some of the men died in their sleep soon after and some of his own childhood nightmares.
The idea of Freddy was Craven's early life. One night, a young Craven saw an elderly man walking on the sidepath outside the window of his home. The man stopped to glance at a startled Craven and walked off. Now Initially, Fred Krueger was intended to be a child molester, but Craven eventually characterized him as a child murderer to avoid being accused of exploiting a spate of highly publicized child molestation cases that occurred in California around the time of production of the film. This idea happened in the 2010 remake.
Lets talk about the plot: In Wes Craven's classic slasher film, several Midwestern teenagers fall prey to Freddy Krueger (Robert Englund), a disfigured midnight mangler who preys on the teenagers in their dreams -- which, in turn, kills them in reality. After investigating the phenomenon, Nancy (Heather Langenkamp) begins to suspect that a dark secret kept by her and her friends' parents may be the key to unraveling the mystery, but can Nancy and her boyfriend Glen (Johnny Depp) solve the puzzle before it's too late?
The plot/story is excellent, the mystery surrounded of Krueger. Who he exactly is, why is he do this, what made him do this, how do the parnets know about Krueger? All of these questions and more your trying to figure out and the movie does a excellent job explaining them.
The deaths: the death scenes are excellent. Tina revolving around her room, Rod's bed sheets wrapping around him while he is in a prison cell and dies hanging and Glen getting pulled through his bed and then his blood gushes to the ceiling. Excellent deaths and memorable.
The Ending: Craven originally planned for the film to have a more evocative ending: Nancy kills Krueger by ceasing to believe in him, then awakens to discover that everything that happened in the film was an elongated nightmare. However, New Line leader Robert Shaye demanded a twist ending, in which Krueger disappears and all seems to have been a dream, only for the audience to discover that it was a dream-within-a-dream-within-a-dream.
According to Craven, "The original ending of the script has Nancy come out the door. It's an unusually cloudy and foggy day. A car pulls up with her dead friends in it. She's startled. She goes out and gets in the car wondering what the hell is going on, and they drive off into the fog, with the mother left standing on the doorstep and that's it. It was very brief, and suggestive that maybe life is sort of dream-like too. Shaye wanted Freddy Krueger to be driving the car, and have the kids screaming. It all became very negative. I felt a philosophical tension to my ending. Shaye said, "That's so 60s, it's stupid." I refused to have Freddy in the driver's seat, and we thought up about five different endings. The one we used, with Freddy pulling the mother through the doorway amused us all so much, we couldn't not use it."
Heather Langenkamp states that "there always was this sense that Freddy was the car", while according to Sara Risher, "it was always Wes' idea to pan to the little girls' jumping rope". Both a happy ending and a twist ending were filmed, but the final film used the twist ending. As a result, Craven who never wanted the film to be an ongoing franchise, did not work on the first sequel, Freddy's Revenge (1985).
Also Nancy's mom getting pulles through the window door was wierd and you can tell it was a blow up doll.
The Music: The lyrics for Freddy's theme song, sung by the jumprope children throughout the series and based on One, Two, Buckle My Shoe, was already written and included in the script when Bernstein started writing the soundtrack, while the melody for it was not set by Bernstein, but by Heather Langenkamp's boyfriend and soon-to-be husband at the time, Alan Pasqua, who was a musician himself. One of the three girls who recorded the vocal part of the theme was Robert Shaye's then 14-year-old daughter. Per the script, the lyrics are as follow: One two, Freddie's coming for you.Three four, better lock your door. Five six, grab your crucifix. Seven eight, gonna stay up late. Nine ten, never sleep again.
End Thoughts: A Nightmare on Elm Street is a excellent horror movie, it introduces a horror icon, has great charcters, has great death scenes and above all is perfect. Thank you Wes for giving us this movie.
I just love the idea of someone who appears in your dreams. Someone who stalks you, someone who messes with you, someone who kills you in your dreams. Now Wes got the idea from several newspaper articles printed in the Los Angeles Times in the 1970s about Southeast Asian refugees, who, after fleeing to the United States because of war and genocide in Laos, Cambodia, and Vietnam, suffered disturbing nightmares and refused to sleep. Some of the men died in their sleep soon after and some of his own childhood nightmares.
The idea of Freddy was Craven's early life. One night, a young Craven saw an elderly man walking on the sidepath outside the window of his home. The man stopped to glance at a startled Craven and walked off. Now Initially, Fred Krueger was intended to be a child molester, but Craven eventually characterized him as a child murderer to avoid being accused of exploiting a spate of highly publicized child molestation cases that occurred in California around the time of production of the film. This idea happened in the 2010 remake.
Lets talk about the plot: In Wes Craven's classic slasher film, several Midwestern teenagers fall prey to Freddy Krueger (Robert Englund), a disfigured midnight mangler who preys on the teenagers in their dreams -- which, in turn, kills them in reality. After investigating the phenomenon, Nancy (Heather Langenkamp) begins to suspect that a dark secret kept by her and her friends' parents may be the key to unraveling the mystery, but can Nancy and her boyfriend Glen (Johnny Depp) solve the puzzle before it's too late?
The plot/story is excellent, the mystery surrounded of Krueger. Who he exactly is, why is he do this, what made him do this, how do the parnets know about Krueger? All of these questions and more your trying to figure out and the movie does a excellent job explaining them.
The deaths: the death scenes are excellent. Tina revolving around her room, Rod's bed sheets wrapping around him while he is in a prison cell and dies hanging and Glen getting pulled through his bed and then his blood gushes to the ceiling. Excellent deaths and memorable.
The Ending: Craven originally planned for the film to have a more evocative ending: Nancy kills Krueger by ceasing to believe in him, then awakens to discover that everything that happened in the film was an elongated nightmare. However, New Line leader Robert Shaye demanded a twist ending, in which Krueger disappears and all seems to have been a dream, only for the audience to discover that it was a dream-within-a-dream-within-a-dream.
According to Craven, "The original ending of the script has Nancy come out the door. It's an unusually cloudy and foggy day. A car pulls up with her dead friends in it. She's startled. She goes out and gets in the car wondering what the hell is going on, and they drive off into the fog, with the mother left standing on the doorstep and that's it. It was very brief, and suggestive that maybe life is sort of dream-like too. Shaye wanted Freddy Krueger to be driving the car, and have the kids screaming. It all became very negative. I felt a philosophical tension to my ending. Shaye said, "That's so 60s, it's stupid." I refused to have Freddy in the driver's seat, and we thought up about five different endings. The one we used, with Freddy pulling the mother through the doorway amused us all so much, we couldn't not use it."
Heather Langenkamp states that "there always was this sense that Freddy was the car", while according to Sara Risher, "it was always Wes' idea to pan to the little girls' jumping rope". Both a happy ending and a twist ending were filmed, but the final film used the twist ending. As a result, Craven who never wanted the film to be an ongoing franchise, did not work on the first sequel, Freddy's Revenge (1985).
Also Nancy's mom getting pulles through the window door was wierd and you can tell it was a blow up doll.
The Music: The lyrics for Freddy's theme song, sung by the jumprope children throughout the series and based on One, Two, Buckle My Shoe, was already written and included in the script when Bernstein started writing the soundtrack, while the melody for it was not set by Bernstein, but by Heather Langenkamp's boyfriend and soon-to-be husband at the time, Alan Pasqua, who was a musician himself. One of the three girls who recorded the vocal part of the theme was Robert Shaye's then 14-year-old daughter. Per the script, the lyrics are as follow: One two, Freddie's coming for you.Three four, better lock your door. Five six, grab your crucifix. Seven eight, gonna stay up late. Nine ten, never sleep again.
End Thoughts: A Nightmare on Elm Street is a excellent horror movie, it introduces a horror icon, has great charcters, has great death scenes and above all is perfect. Thank you Wes for giving us this movie.
Chris Sawin (602 KP) rated Kiss Kiss, Bang Bang (2005) in Movies
Jun 18, 2019
In the early to mid-2000s, Robert Downey Jr wasn’t one of the highest paid actors in the world. He was busy attempting to rebuild his career after five years of constant struggles with various drugs, being in and out of rehab, and even spent at least a year and a half incarcerated. With all of the films Downey did in that period, including Gothika, A Guide to Recognizing Your Saints, A Scanner Darkly, Zodiac, and Charlie Bartlett, perhaps none are as memorable as Shane Black’s directorial debut and neo-noir black comedy Kiss Kiss Bang Bang.
Harry Lockhart (Downey) is a thief that finds himself in a peculiar situation. After almost being apprehended by the police while breaking into a toy store, Harry stumbles into an audition and impresses everyone when his reading cuts a little too deep and is strangely accurate to Harry’s current situation. Now seen as some sort of acting prodigy, Harry finds himself in Los Angeles awaiting his screen test. He’s introduced to Gay Perry (Val Kilmer), a gay detective that’s hired to bestow his detective wisdom on Harry for his new on-screen role.
But before character development can truly begin, Harry is re-introduced to Harmony (Michelle Monaghan); a childhood friend and the girl-next-door-type who Harry considers to be the one that got away. However, Harry’s newfound luck is short-lived. While tagging along with Perry during one of his cases, the two of them witness two men in ski masks drive a car off a cliff and into a lake. They discover a woman with a broken neck in the trunk and the realization dawns on them that this is bigger than either of them could have ever imagined. With multiple cases suddenly being connected to one another and clues coming together to form bigger pieces of the puzzle, maybe Harry, Perry, and Harmony meeting each other is fate and not just a coincidence.
While Kiss Kiss Bang Bang is a noir film on the surface, it also has that buddy cop dynamic that Shane Black perfected with the likes of the Lethal Weapon films and The Nice Guys. The film has elements of mystery, comedy, action, and thriller genres for an overall experience that is entertaining on a variety of levels. Harry guides you as the narrator throughout the majority of the film and there are some intriguing storytelling techniques utilized to help get Harry’s perspective across. There’s a sequence where Harry realizes he’s forgotten to tell the audience an important piece of information and the film reel acts like it’s about to run off track before it pauses showing what looks like the film paused between two frames of a film reel. Kiss Kiss Bang Bang has a few elements like this that capitalizes on Harry’s quirks while he narrates that gives the film and the story a refreshing ambience.
This is Robert Downey Jr’s favorite film of his entire filmography and it’s difficult to argue with that. At a time when Downey was trying to rebound, stay sober, and prove that he was still a talented actor, Kiss Kiss Bang Bang benefits from all of his strengths. As Harry, Downey portrays nearly every emotion imaginable and this performance reminds you why he has always been held in such high regard. Unlike Iron Man 3 which seems to depreciate in repeat viewings, Kiss Kiss Bang Bang holds up extremely well for a film that is 10+ years old and should be considered as one of Shane Black’s strongest films in general and to date.
The one downside was the way the film was released theatrically. The film didn’t expand to more theaters after its opening weekend and underperformed at the box office, but did well overseas and was a big hit once it was released on DVD. The Gay Perry character is considered to be the first openly gay character to headline a major motion picture in Hollywood and Val Kilmer is in top form in the role. The chemistry he has with Robert Downey Jr is overwhelmingly entertaining while Perry’s agitation with Harry’s incompetence as a detective is hilariously brought to light by Kilmer’s memorable performance.
John Ottman’s score is the unseen cast member of Kiss Kiss Bang Bang that helps cement the noir vibe the film is aiming for. The jazz-infused compositions invoke a sense of mystery and intrigue in the viewer that sets the tone of the film perfectly. For proof of this, look no further than the film’s opening credits which simultaneously feel like an homage to other noir films while also offering something completely new.
Kiss Kiss Bang Bang isn’t as overlooked as it used to be, but it still doesn’t seem to have the reputation it deserves. The film is entertaining on so many levels and the performances from the cast are exceptional. The music is superb and the story constantly captivates; Shane Black couldn’t have dreamed of a better directorial debut.
Kiss Kiss Bang Bang is currently available to stream on Amazon Prime, YouTube, Google Play, and Vudu for $2.99 and iTunes for $3.99. The film is also free on Amazon Prime if you have Cinemax with Prime Video Channels. It is currently available on DVD for $8.49, Blu-ray for $16.99, and Multi-Format Blu-ray for $14.42 on Amazon. On eBay, the DVD is currently running $4.66 pre-owned and $4.50 brand new with free shipping and a brand new Blu-ray is $15.98 with free shipping.
Harry Lockhart (Downey) is a thief that finds himself in a peculiar situation. After almost being apprehended by the police while breaking into a toy store, Harry stumbles into an audition and impresses everyone when his reading cuts a little too deep and is strangely accurate to Harry’s current situation. Now seen as some sort of acting prodigy, Harry finds himself in Los Angeles awaiting his screen test. He’s introduced to Gay Perry (Val Kilmer), a gay detective that’s hired to bestow his detective wisdom on Harry for his new on-screen role.
But before character development can truly begin, Harry is re-introduced to Harmony (Michelle Monaghan); a childhood friend and the girl-next-door-type who Harry considers to be the one that got away. However, Harry’s newfound luck is short-lived. While tagging along with Perry during one of his cases, the two of them witness two men in ski masks drive a car off a cliff and into a lake. They discover a woman with a broken neck in the trunk and the realization dawns on them that this is bigger than either of them could have ever imagined. With multiple cases suddenly being connected to one another and clues coming together to form bigger pieces of the puzzle, maybe Harry, Perry, and Harmony meeting each other is fate and not just a coincidence.
While Kiss Kiss Bang Bang is a noir film on the surface, it also has that buddy cop dynamic that Shane Black perfected with the likes of the Lethal Weapon films and The Nice Guys. The film has elements of mystery, comedy, action, and thriller genres for an overall experience that is entertaining on a variety of levels. Harry guides you as the narrator throughout the majority of the film and there are some intriguing storytelling techniques utilized to help get Harry’s perspective across. There’s a sequence where Harry realizes he’s forgotten to tell the audience an important piece of information and the film reel acts like it’s about to run off track before it pauses showing what looks like the film paused between two frames of a film reel. Kiss Kiss Bang Bang has a few elements like this that capitalizes on Harry’s quirks while he narrates that gives the film and the story a refreshing ambience.
This is Robert Downey Jr’s favorite film of his entire filmography and it’s difficult to argue with that. At a time when Downey was trying to rebound, stay sober, and prove that he was still a talented actor, Kiss Kiss Bang Bang benefits from all of his strengths. As Harry, Downey portrays nearly every emotion imaginable and this performance reminds you why he has always been held in such high regard. Unlike Iron Man 3 which seems to depreciate in repeat viewings, Kiss Kiss Bang Bang holds up extremely well for a film that is 10+ years old and should be considered as one of Shane Black’s strongest films in general and to date.
The one downside was the way the film was released theatrically. The film didn’t expand to more theaters after its opening weekend and underperformed at the box office, but did well overseas and was a big hit once it was released on DVD. The Gay Perry character is considered to be the first openly gay character to headline a major motion picture in Hollywood and Val Kilmer is in top form in the role. The chemistry he has with Robert Downey Jr is overwhelmingly entertaining while Perry’s agitation with Harry’s incompetence as a detective is hilariously brought to light by Kilmer’s memorable performance.
John Ottman’s score is the unseen cast member of Kiss Kiss Bang Bang that helps cement the noir vibe the film is aiming for. The jazz-infused compositions invoke a sense of mystery and intrigue in the viewer that sets the tone of the film perfectly. For proof of this, look no further than the film’s opening credits which simultaneously feel like an homage to other noir films while also offering something completely new.
Kiss Kiss Bang Bang isn’t as overlooked as it used to be, but it still doesn’t seem to have the reputation it deserves. The film is entertaining on so many levels and the performances from the cast are exceptional. The music is superb and the story constantly captivates; Shane Black couldn’t have dreamed of a better directorial debut.
Kiss Kiss Bang Bang is currently available to stream on Amazon Prime, YouTube, Google Play, and Vudu for $2.99 and iTunes for $3.99. The film is also free on Amazon Prime if you have Cinemax with Prime Video Channels. It is currently available on DVD for $8.49, Blu-ray for $16.99, and Multi-Format Blu-ray for $14.42 on Amazon. On eBay, the DVD is currently running $4.66 pre-owned and $4.50 brand new with free shipping and a brand new Blu-ray is $15.98 with free shipping.
Gareth von Kallenbach (965 KP) rated the PlayStation 3 version of Star Trek in Video Games
Jun 19, 2019
Director JJ Abrams him breathes life into a stagnating Star Trek franchise with his daring reimagining of the franchise as currently gearing up to release the much anticipated “Star Trek: Into Darkness”, later this summer. With franchise awareness and popularity at a level not seen in over a decade, Digital Extremes has released Star Trek: The Video Game to the delight of Trek fans everywhere. Not only is the game the first one said JJ Abrams universe, but it is also the first game to allow players to play as either Kirk or Spock in both solo or co-op play. The game features Chris Pine and Zachary Quinto as Kirk and Spock and also features other voices from the film. During our preview for the game at the 2012 E3 convention in Los Angeles, it was revealed to me that the filmmakers were consulted during the development of the game as it was designed to be a bridge between the first and the second of the JJ Abrams films.
Answering a distress signal, the Enterprise crew finds himself set the center of a crisis with galactic repercussions. An evil reptilian race known as the Gorn have stolen the device of immense power and also have unleashed attacks on a Federation station as well as the new Vulcan colony. Not only is the attacking race deadly but they also are employing a technology that allows them to infect and control Federation citizens and officers which doubles the threat posed to the Federation. When the Gorn escape with an extremely powerful device and Vulcan scientists in tow, Kirk and Spock are tasked with saving the day.
The gameplay is similar to that of the Mass Effect series in that it is done from a third person perspective. Players have the ability to use a Tricorder to scan enemies and objects, pathways, and electronic devices such as doors and security systems which often have to be hacked or manipulated to allow gameplay to progress. Players are allowed to primary weapons into grenade types and have to recharge at various centers throughout the game or swap a spent weapon for weapons they find laying about. This is at a nice new wrinkle to the game is not only are Federation and Gorn weapons available players, but having things ranging from sniper rifles to arc guns makes a nice mix from the standard Phaser weapons. There are also various grenades it can be used by the players.
One of the more frustrating aspects of a game for me for the numerous puzzle sequences where systems had to be hacked or otherwise manipulated. While some could be done by ordering Spock or Kirk depending on which player you were controlling to handle it themselves, some had to be done in conjunction with another player. While this was a nice touch to the game, during the final parts they were too frequent and for me undercut the drama and the urgency of the story.
There were also numerous jumping puzzles where players had to hang from ledges and you carefully timed jumps from one obstacle to another. This became frustrating on the PC version as the control system often was very temperamental and allowed access only at certain points of the map. During one co-op session, both live-action players were unable to complete a puzzle, and it required one of us dropping out of the game so that they could rejoin once the remaining player completed the obstacle course.
I appreciate the deviation from standard run and gun and how the developers were attempting to incorporate a true sense of co-op play by requiring the other player to be little more than backup firepower. However, it does get a bit frustrating when somebody is unable to complete a jump and you are forced to repeat a segment over and over until it is done correctly thanks to the games checkpoint save system.
I really enjoyed the detail levels of the game especially being able to explore the Enterprise and other environments in great detail. One segment required us to use limited range portable transporters to tag and transport one another to various spots on a damage space station. This this was lots of fun and in my opinion really captured the essence of Star Trek as did the brash and bold gameplay style of Kirk compared to the methodical and efficient gameplay style of Spock.
While there were some frustrating moments the game was very enjoyable and with over 10 hours of gameplay did offer a very rewarding experience for Star Trek fans. I do think that gamers who are more casual fans of the series may not be as forgiving with some of the issues I noted in the game but as franchise games go this was a very enjoyable effort.
Graphically the facial animation and lip-synch of the characters was a bit off and dated but elements of the ship and locales were extremely detailed and very enjoyable to look at and interact with. There are some fantastic lines in the game especially some of the clips by Scotty and Dr. McCoy which really showed the effort the game designers talk to capture the essence of the game and its characters and to do their best to put players inside a true Star Trek adventure.
While it is not a perfect game and does have some flaws from the technical and gameplay side of things, it is one of the better Star Trek games ever released and does offer a very enjoyable experience for Star Trek fans as long as they are willing to temper their expectations going in.
http://sknr.net/2013/04/29/star-trek-the-video-game/
Answering a distress signal, the Enterprise crew finds himself set the center of a crisis with galactic repercussions. An evil reptilian race known as the Gorn have stolen the device of immense power and also have unleashed attacks on a Federation station as well as the new Vulcan colony. Not only is the attacking race deadly but they also are employing a technology that allows them to infect and control Federation citizens and officers which doubles the threat posed to the Federation. When the Gorn escape with an extremely powerful device and Vulcan scientists in tow, Kirk and Spock are tasked with saving the day.
The gameplay is similar to that of the Mass Effect series in that it is done from a third person perspective. Players have the ability to use a Tricorder to scan enemies and objects, pathways, and electronic devices such as doors and security systems which often have to be hacked or manipulated to allow gameplay to progress. Players are allowed to primary weapons into grenade types and have to recharge at various centers throughout the game or swap a spent weapon for weapons they find laying about. This is at a nice new wrinkle to the game is not only are Federation and Gorn weapons available players, but having things ranging from sniper rifles to arc guns makes a nice mix from the standard Phaser weapons. There are also various grenades it can be used by the players.
One of the more frustrating aspects of a game for me for the numerous puzzle sequences where systems had to be hacked or otherwise manipulated. While some could be done by ordering Spock or Kirk depending on which player you were controlling to handle it themselves, some had to be done in conjunction with another player. While this was a nice touch to the game, during the final parts they were too frequent and for me undercut the drama and the urgency of the story.
There were also numerous jumping puzzles where players had to hang from ledges and you carefully timed jumps from one obstacle to another. This became frustrating on the PC version as the control system often was very temperamental and allowed access only at certain points of the map. During one co-op session, both live-action players were unable to complete a puzzle, and it required one of us dropping out of the game so that they could rejoin once the remaining player completed the obstacle course.
I appreciate the deviation from standard run and gun and how the developers were attempting to incorporate a true sense of co-op play by requiring the other player to be little more than backup firepower. However, it does get a bit frustrating when somebody is unable to complete a jump and you are forced to repeat a segment over and over until it is done correctly thanks to the games checkpoint save system.
I really enjoyed the detail levels of the game especially being able to explore the Enterprise and other environments in great detail. One segment required us to use limited range portable transporters to tag and transport one another to various spots on a damage space station. This this was lots of fun and in my opinion really captured the essence of Star Trek as did the brash and bold gameplay style of Kirk compared to the methodical and efficient gameplay style of Spock.
While there were some frustrating moments the game was very enjoyable and with over 10 hours of gameplay did offer a very rewarding experience for Star Trek fans. I do think that gamers who are more casual fans of the series may not be as forgiving with some of the issues I noted in the game but as franchise games go this was a very enjoyable effort.
Graphically the facial animation and lip-synch of the characters was a bit off and dated but elements of the ship and locales were extremely detailed and very enjoyable to look at and interact with. There are some fantastic lines in the game especially some of the clips by Scotty and Dr. McCoy which really showed the effort the game designers talk to capture the essence of the game and its characters and to do their best to put players inside a true Star Trek adventure.
While it is not a perfect game and does have some flaws from the technical and gameplay side of things, it is one of the better Star Trek games ever released and does offer a very enjoyable experience for Star Trek fans as long as they are willing to temper their expectations going in.
http://sknr.net/2013/04/29/star-trek-the-video-game/
Bong Mines Entertainment (15 KP) rated Beerbongs & Bentleys by Post Malone in Music
Jun 7, 2019
Post Malone is a rapper from Syracuse, New York. Not too long ago, he released his sophomore album, entitled, “beerbongs & bentleys”, featuring Swae Lee, 21 Savage, Ty Dolla Sign, Nicki Minaj, G-Eazy, and YG.
Malone wears his heart on his sleeve and speaks from the heart. His world is good and bad, and he blames himself for his dual reality because life is what you make it.
PARANOID
Malone opens the album speaking about his paranoia. He’s worked so hard to become rich and successful. Now, he can’t trust anyone around him. He fears that people are out to get him for his riches, which he has stashed in different areas of his home.
To protect himself, Malone sleeps with a gun by his bed. Also, he’s willing to shoot anyone trying to break in or enter his home unannounced.
SPOIL MY NIGHT (FT. SWAE LEE)
Malone addresses limelight-lustful females he encounters in nightclubs. The women know Malone is a celebrity, so they want their social-media world to know that they are hanging out with him.
Malone admits that what he’s doing is wrong. But there’s no need for these women to get star-struck. In a way, he’s suspicious about their move to go live on Instagram. He would rather them chill and keep things on the low.
RICH & SAD
Malone addresses his girlfriend. She’s the reason why he doesn’t want his female fans recording him in the clubs.
Apparently, Malone’s girl leaves him for unknown reasons. Malone claims it’s because his career is skyrocketing. So, that might’ve complicated their relationship. But the real reason is anyone’s guess.
After her departure, Malone feels lonely and depressed, even though he’s surrounded by fame and fortune.
Malone realizes that money can’t buy happiness. All he wants is his girlfriend back.
ZACK AND CODEINE
Malone solves his loneliness by indulging in his guilty pleasures. So, he parties in a hotel lobby, filled with women, drugs, and alcohol.
Malone celebrates his success and doesn’t plan on sleeping anytime soon. As long as he’s partying, he doesn’t feel alone. He even addresses the current state of urban music.
TAKIN’ SHOTS
Malone continues his pleasure-seeking. This time, he’s at another party, mixing unprotected threesome sex, drugs, and alcohol.
Malone is drunk before he gets to the party. Still, that doesn’t stop him from taking more shots. Also, he’s waiting for more drugs to come.
ROCKSTAR FEAT. 21 SAVAGE
Malone identifies what he is—a Rockstar, smoking weed like a Rasta, f*cking hoes, and popping pills.
The Emil Nava-directed video shows Malone as a deranged swordsman. Also, he is warring against the ops, and they are clothed in business attire.
OVER NOW
Malone stops partying and addresses his off-and-on relationship with his girlfriend. This time, he lets her know that he’s been a begging idiot. Now, he doesn’t want her anymore. It’s over!
PSYCHO FEAT. TY DOLLA $IGN
Malone raps about making his first million, how much he charges for a walkthrough, and how the jewelry on his neck is making his neck cold. Also, all these things he has accumulated, have women asking, “Can I have some to hold?”
The James DeFina-directed video begins with Malone riding a tank in a deserted area. Also, later scenes show Ty Dolla riding inside the tank.
BETTER NOW
Malone reverts back to talking about his ex-girlfriend. He questions her saying that she is better now. But he doesn’t believe that, even though he sees her with a new guy.
Malone is trying to win back her love and faults himself as the problem of their separation. He puts his heart on his sleeve and lets it be known that he’s still in love with her.
BALL FOR ME FEAT. NICKI MINAJ
Malone ditches his relationship drama and puts on his ballin’ jersey. He’s busy on the road getting paid. So, he doesn’t have time to personally take her shopping on Rodeo Drive.
The girl wants to be styled in Saint Laurent fashion. So, Malone offers to pay $30,000 for the shopping spree and nothing more.
OTHERSIDE
Malone reverts back to talking about his ex-girlfriend. He’s been drinking and reminiscing about their rocky relationship. Also, he wants to know why she doesn’t answer when he calls her name.
It seems Malone’s girl did him dirty. She left him in the cold and now he’s burning inside trying to drink away the pain. But somehow, he still loves her and wants the waves to come and take him back to her.
STAY
Malone is stuck in a sunken place. The rocky relationship between him and his ex is starting to get to him and he’s starting to drink more and more.
BLAME IT ON ME
Malone reflects on a time when he didn’t have money and fame. Life was so simple back then.
Now, people around him are trying to take pieces of him, and everything he has worked hard for. He blames himself for them taking advantage of him, even though he knows they love when he’s in agony.
SAME BITCHES FEAT. YG & G-EAZY
Malone raps about being in Los Angeles. He questions, if the population is 4-million, how come he sees the same b*tches? Also, he questions their intention.
JONESTOWN (INTERLUDE)
Malone is depressed again. He mentions the Jonestown cult massacre when Jim Jones poisoned his followers with a poisonous Kool-Aid drink.
Malone raps about his 1992 Ford Explorer. Apparently, he purchased another one for $1,700 and got it customized by West Coast Customs.
CANDY PAINT
Malone continues his lavish talks about his lavish lifestyle, expensive vehicles, and his boss status. Also, he warns people not to plot on what he has because it can get ugly.
‘Candy Paint’ was originally recorded for “The Fate of the Furious: The Album” soundtrack.
SUGAR WRAITH
Malone continues with the car theme. He raps about his Rolls Royce Wraith and taking it out for a drive. Also, he covers other topics.
CONCLUSION
‘beerbongs & bentleys’ is a rhythmic/harmonious album with solid production and detailed songwriting.
Also, it highlights Malone’s struggles, pinpoints his weaknesses and addictions, which are lotion with tears of depression and materialistic happiness.
https://www.bongminesentertainment.com/post-malone-beerbongs-bentleys/
Malone wears his heart on his sleeve and speaks from the heart. His world is good and bad, and he blames himself for his dual reality because life is what you make it.
PARANOID
Malone opens the album speaking about his paranoia. He’s worked so hard to become rich and successful. Now, he can’t trust anyone around him. He fears that people are out to get him for his riches, which he has stashed in different areas of his home.
To protect himself, Malone sleeps with a gun by his bed. Also, he’s willing to shoot anyone trying to break in or enter his home unannounced.
SPOIL MY NIGHT (FT. SWAE LEE)
Malone addresses limelight-lustful females he encounters in nightclubs. The women know Malone is a celebrity, so they want their social-media world to know that they are hanging out with him.
Malone admits that what he’s doing is wrong. But there’s no need for these women to get star-struck. In a way, he’s suspicious about their move to go live on Instagram. He would rather them chill and keep things on the low.
RICH & SAD
Malone addresses his girlfriend. She’s the reason why he doesn’t want his female fans recording him in the clubs.
Apparently, Malone’s girl leaves him for unknown reasons. Malone claims it’s because his career is skyrocketing. So, that might’ve complicated their relationship. But the real reason is anyone’s guess.
After her departure, Malone feels lonely and depressed, even though he’s surrounded by fame and fortune.
Malone realizes that money can’t buy happiness. All he wants is his girlfriend back.
ZACK AND CODEINE
Malone solves his loneliness by indulging in his guilty pleasures. So, he parties in a hotel lobby, filled with women, drugs, and alcohol.
Malone celebrates his success and doesn’t plan on sleeping anytime soon. As long as he’s partying, he doesn’t feel alone. He even addresses the current state of urban music.
TAKIN’ SHOTS
Malone continues his pleasure-seeking. This time, he’s at another party, mixing unprotected threesome sex, drugs, and alcohol.
Malone is drunk before he gets to the party. Still, that doesn’t stop him from taking more shots. Also, he’s waiting for more drugs to come.
ROCKSTAR FEAT. 21 SAVAGE
Malone identifies what he is—a Rockstar, smoking weed like a Rasta, f*cking hoes, and popping pills.
The Emil Nava-directed video shows Malone as a deranged swordsman. Also, he is warring against the ops, and they are clothed in business attire.
OVER NOW
Malone stops partying and addresses his off-and-on relationship with his girlfriend. This time, he lets her know that he’s been a begging idiot. Now, he doesn’t want her anymore. It’s over!
PSYCHO FEAT. TY DOLLA $IGN
Malone raps about making his first million, how much he charges for a walkthrough, and how the jewelry on his neck is making his neck cold. Also, all these things he has accumulated, have women asking, “Can I have some to hold?”
The James DeFina-directed video begins with Malone riding a tank in a deserted area. Also, later scenes show Ty Dolla riding inside the tank.
BETTER NOW
Malone reverts back to talking about his ex-girlfriend. He questions her saying that she is better now. But he doesn’t believe that, even though he sees her with a new guy.
Malone is trying to win back her love and faults himself as the problem of their separation. He puts his heart on his sleeve and lets it be known that he’s still in love with her.
BALL FOR ME FEAT. NICKI MINAJ
Malone ditches his relationship drama and puts on his ballin’ jersey. He’s busy on the road getting paid. So, he doesn’t have time to personally take her shopping on Rodeo Drive.
The girl wants to be styled in Saint Laurent fashion. So, Malone offers to pay $30,000 for the shopping spree and nothing more.
OTHERSIDE
Malone reverts back to talking about his ex-girlfriend. He’s been drinking and reminiscing about their rocky relationship. Also, he wants to know why she doesn’t answer when he calls her name.
It seems Malone’s girl did him dirty. She left him in the cold and now he’s burning inside trying to drink away the pain. But somehow, he still loves her and wants the waves to come and take him back to her.
STAY
Malone is stuck in a sunken place. The rocky relationship between him and his ex is starting to get to him and he’s starting to drink more and more.
BLAME IT ON ME
Malone reflects on a time when he didn’t have money and fame. Life was so simple back then.
Now, people around him are trying to take pieces of him, and everything he has worked hard for. He blames himself for them taking advantage of him, even though he knows they love when he’s in agony.
SAME BITCHES FEAT. YG & G-EAZY
Malone raps about being in Los Angeles. He questions, if the population is 4-million, how come he sees the same b*tches? Also, he questions their intention.
JONESTOWN (INTERLUDE)
Malone is depressed again. He mentions the Jonestown cult massacre when Jim Jones poisoned his followers with a poisonous Kool-Aid drink.
Malone raps about his 1992 Ford Explorer. Apparently, he purchased another one for $1,700 and got it customized by West Coast Customs.
CANDY PAINT
Malone continues his lavish talks about his lavish lifestyle, expensive vehicles, and his boss status. Also, he warns people not to plot on what he has because it can get ugly.
‘Candy Paint’ was originally recorded for “The Fate of the Furious: The Album” soundtrack.
SUGAR WRAITH
Malone continues with the car theme. He raps about his Rolls Royce Wraith and taking it out for a drive. Also, he covers other topics.
CONCLUSION
‘beerbongs & bentleys’ is a rhythmic/harmonious album with solid production and detailed songwriting.
Also, it highlights Malone’s struggles, pinpoints his weaknesses and addictions, which are lotion with tears of depression and materialistic happiness.
https://www.bongminesentertainment.com/post-malone-beerbongs-bentleys/
Bob Mann (459 KP) rated Independence Day: Resurgence (2016) in Movies
Sep 29, 2021
Why Will Smith is a wise, wise man.
I’m catching up on a few of the big films I missed during 2016. But Roland Emmerich has a lot to answer for with this one. Twenty years after Independence Day smashed the summer box office of 1996, the aliens are back: bigger and badder than ever. Steven Hiller (Will Smith) is no longer on the scene but, to give Emmerich a little credit, he has gathered an impressive array of the original stars to return led by Hiller’s wife Jasmine (Vivica Fox), President Whitmore (Bill Pullman), Dr Okun (Brent Spiner), David Levinson (Jeff Goldblum) and his dad (Judd Hirsch). The great Robert Loggia even turns up, who played the original General Grey, looking like he is about to expire (which unfortunately he did late last year, and the film is in memorial to him). All of them have weathered over the years apart from Judd Hirsch who must have a picture in his attic.
Playing the new generation (Hiller’s young son Dylan and the president’s daughter Patricia) are Jessie Usher and the comely Maika Monroe respectively, the latter having the pout of a young Jessica Alba and showing promise. Rounding off the young ‘uns, and playing an enormously irritating hunk/hero and his sidekick buddy are Jake (Liam Hemsworth – yes, younger brother of Chris) and Floyd (Nicolas Wright). And with the obvious needs of summer blockbusters to appeal to the ravenous Chinese market there is also Shanghai-born Angelababy as a young hotshot pilot and Chin Han as her uncle, moonbase commander Commander Jiang.
It’s hard to know where to start with criticism of this film. It’s like you’ve caught someone desecrating the grave of a dearly departed relative. The plot is ludicrous…. Uh oh…here comes another One Mann’s Movies Showcase Theatre….
The scene: onboard the alien craft high above central Asia
DRONE K’FAALL: “The use of the anti-gravity weapon worked a treat your Majesty. We have ripped up Shanghai and dumped in from a great height on London! Take that Queenie! All hail our weapons superiority! I take it we should just ‘rinse and repeat’ around the world to wipe them all out? ”
QUEEN ALIEN BEE: “No K’Fall. Let’s land in the Atlantic and then go fight them one-on-one with our little ships in the desert near Area 51.”
DRONE K’FALL: “B-b-b-but your Majesty, with our gravity weapon we could eliminate all threat, drill out the earth’s core and find what we came here for in perfect safety!”.
QUEEN ALIEN BEE: “No… that’s just what they’ll be expecting us to do…”
I thought the Oscar for the dumbest aliens of the year was a shoe-in for the ones who chose a similar tactic in “The 5th Wave” – but no… we have another contender for the crown. This ridiculous London-based CGI sequence – a virtual re-shoot of the ridiculous CGI sequence in Emmerich’s “2012” where John Cusack is fleeing by plane a collapsing Los Angeles – is mitigated only by Goldblum’s witty comment about them “Always going for the landmarks” – the best line in the film.
Elsewhere, the story and screenplay – by an army of writers (never a good sign) – is risible and an insult to intelligence, alien or otherwise. The ludicrous plot points go on and on…
Why on earth is the single landed alien craft from 1996 owned by an African warlord? If mankind have ‘benefited’ so much from the alien technology that must surely have been through the UN-dismantling of that ship?
There seems to be no logical connection between the “visions” (stolen from “Close Encounters”) and the alien craft. The visions might have well have been of the alien’s last shopping list (“six cans of Kraag beans; one bottle of Vollufi ale; … “);
The alien craft is big enough to span the WHOLE Atlantic when it lands, but – who would believe it? – comes to a stop with its edge in Washington JUST ENOUGH to dip the White House flag to a jaunty angle. #cringe;
The alien ship – apparently open to the elements – allows our heroic hunks to wander around without spacesuits;
Breathless… or not. Jessie T Usher and Liam Hemsworth (foreground) not dying of asphyxiation or cold.
At one point it looked like our curvaceous heroine was going to defeat the alien queen in good ol’ Wild West fashion armed only with a handgun (but no, my head could come out of my hands again);
And don’t even get me started on the opening “excitement” about propping up a collapsing supergun on the moon with a spaceship. Gerry Anderson would be spinning in his grave.
The dialogue is little better. The original “Independence Day” was probably most famous for two scenes: the impressive destruction of the White House and Bill Paxton’s ludicrously corny “We will not go quietly into the night” speech. Here trying to go one better we have not just one version of this but two with William Fichner’s General Adams chipping one in from the rough before Paxton delivers an impromptu hanger speech that is toe-curlingly excruciating.
Much of the acting is of the “I really don’t want to be here but it’s good for the pension” variety with Paxton and Goldblum going through the motions and Charlotte Gainsborough being horribly miscast as a French anthropologist running around the world on the trail of Pokemon Go characters… or symbols… or something. Only Brent Spiner and Judd Hirsch really get into their stride with likeably over-the-top performances.
Goldblum and Charlotte Gainsborough. A less likely historic romantic attachment its difficult to imagine.
If this was a standalone story it might scrape a double-Fad… but as it so horrendously sullies a classic movie experience it incurs my cinematic wrath. It might have made Roland Emmer-richer (sic)…. but my recommendation would be to get a big bag of popcorn, the original 1996 movie on DVD and enjoy. Avoid, avoid, avoid.
Playing the new generation (Hiller’s young son Dylan and the president’s daughter Patricia) are Jessie Usher and the comely Maika Monroe respectively, the latter having the pout of a young Jessica Alba and showing promise. Rounding off the young ‘uns, and playing an enormously irritating hunk/hero and his sidekick buddy are Jake (Liam Hemsworth – yes, younger brother of Chris) and Floyd (Nicolas Wright). And with the obvious needs of summer blockbusters to appeal to the ravenous Chinese market there is also Shanghai-born Angelababy as a young hotshot pilot and Chin Han as her uncle, moonbase commander Commander Jiang.
It’s hard to know where to start with criticism of this film. It’s like you’ve caught someone desecrating the grave of a dearly departed relative. The plot is ludicrous…. Uh oh…here comes another One Mann’s Movies Showcase Theatre….
The scene: onboard the alien craft high above central Asia
DRONE K’FAALL: “The use of the anti-gravity weapon worked a treat your Majesty. We have ripped up Shanghai and dumped in from a great height on London! Take that Queenie! All hail our weapons superiority! I take it we should just ‘rinse and repeat’ around the world to wipe them all out? ”
QUEEN ALIEN BEE: “No K’Fall. Let’s land in the Atlantic and then go fight them one-on-one with our little ships in the desert near Area 51.”
DRONE K’FALL: “B-b-b-but your Majesty, with our gravity weapon we could eliminate all threat, drill out the earth’s core and find what we came here for in perfect safety!”.
QUEEN ALIEN BEE: “No… that’s just what they’ll be expecting us to do…”
I thought the Oscar for the dumbest aliens of the year was a shoe-in for the ones who chose a similar tactic in “The 5th Wave” – but no… we have another contender for the crown. This ridiculous London-based CGI sequence – a virtual re-shoot of the ridiculous CGI sequence in Emmerich’s “2012” where John Cusack is fleeing by plane a collapsing Los Angeles – is mitigated only by Goldblum’s witty comment about them “Always going for the landmarks” – the best line in the film.
Elsewhere, the story and screenplay – by an army of writers (never a good sign) – is risible and an insult to intelligence, alien or otherwise. The ludicrous plot points go on and on…
Why on earth is the single landed alien craft from 1996 owned by an African warlord? If mankind have ‘benefited’ so much from the alien technology that must surely have been through the UN-dismantling of that ship?
There seems to be no logical connection between the “visions” (stolen from “Close Encounters”) and the alien craft. The visions might have well have been of the alien’s last shopping list (“six cans of Kraag beans; one bottle of Vollufi ale; … “);
The alien craft is big enough to span the WHOLE Atlantic when it lands, but – who would believe it? – comes to a stop with its edge in Washington JUST ENOUGH to dip the White House flag to a jaunty angle. #cringe;
The alien ship – apparently open to the elements – allows our heroic hunks to wander around without spacesuits;
Breathless… or not. Jessie T Usher and Liam Hemsworth (foreground) not dying of asphyxiation or cold.
At one point it looked like our curvaceous heroine was going to defeat the alien queen in good ol’ Wild West fashion armed only with a handgun (but no, my head could come out of my hands again);
And don’t even get me started on the opening “excitement” about propping up a collapsing supergun on the moon with a spaceship. Gerry Anderson would be spinning in his grave.
The dialogue is little better. The original “Independence Day” was probably most famous for two scenes: the impressive destruction of the White House and Bill Paxton’s ludicrously corny “We will not go quietly into the night” speech. Here trying to go one better we have not just one version of this but two with William Fichner’s General Adams chipping one in from the rough before Paxton delivers an impromptu hanger speech that is toe-curlingly excruciating.
Much of the acting is of the “I really don’t want to be here but it’s good for the pension” variety with Paxton and Goldblum going through the motions and Charlotte Gainsborough being horribly miscast as a French anthropologist running around the world on the trail of Pokemon Go characters… or symbols… or something. Only Brent Spiner and Judd Hirsch really get into their stride with likeably over-the-top performances.
Goldblum and Charlotte Gainsborough. A less likely historic romantic attachment its difficult to imagine.
If this was a standalone story it might scrape a double-Fad… but as it so horrendously sullies a classic movie experience it incurs my cinematic wrath. It might have made Roland Emmer-richer (sic)…. but my recommendation would be to get a big bag of popcorn, the original 1996 movie on DVD and enjoy. Avoid, avoid, avoid.