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RəX Regent (349 KP) rated Warcraft (2016) in Movies
Feb 19, 2019
To begin, I am not really up on the plot of the game in which this movie is based, though I do understand that this is a prequel and that the tone is reasonably accurate to the that of the long enduring PC game.
But derivative is the word. The game was designed to allow its players to interact with each over and across the internet and essentially play in scenarios which span the fantasy genre, itself drawing from such classics as Lord Of the Rings, Dungeons and Dragons and every medieval or ancient myth imaginable.
As a game, this sounds like fun, taking on roles and pretending to be mythological characters, wielding swords and magic, but since this was already taken wholesale from the genre, including films, what was the point?
Essentially, what we have is an epic mash up of films which have already made there mark whilst offering little if anything new worth talking about. The plot twists are predicable if not hammy, the characterisations are dull and cliched and in the end there is little to offer but a brand name and endless special effects.
The movie does pick up a bit in the third act but even this is let down with a finale of world building and sequel teasing, with the plot left wide open and several plot lines ready to go if there was ever to be a Warcraft 2. The problem is that there is little to tantalise unless you are already a die hard fan. The writing is poor, effective for driving the plot along at some pace but it is mundane, predictable and lacking any real intrigue or interest. It simply goes through the motions as does almost everything and everyone else in the film as a whole.
I want to say that it could have been better, but I can not. I think that Jones and his team have probably done a reasonable job of adapting this game but that is what it is, a derivative PC game and hardly suitable for a movie of this scale.
When will they learn?
But derivative is the word. The game was designed to allow its players to interact with each over and across the internet and essentially play in scenarios which span the fantasy genre, itself drawing from such classics as Lord Of the Rings, Dungeons and Dragons and every medieval or ancient myth imaginable.
As a game, this sounds like fun, taking on roles and pretending to be mythological characters, wielding swords and magic, but since this was already taken wholesale from the genre, including films, what was the point?
Essentially, what we have is an epic mash up of films which have already made there mark whilst offering little if anything new worth talking about. The plot twists are predicable if not hammy, the characterisations are dull and cliched and in the end there is little to offer but a brand name and endless special effects.
The movie does pick up a bit in the third act but even this is let down with a finale of world building and sequel teasing, with the plot left wide open and several plot lines ready to go if there was ever to be a Warcraft 2. The problem is that there is little to tantalise unless you are already a die hard fan. The writing is poor, effective for driving the plot along at some pace but it is mundane, predictable and lacking any real intrigue or interest. It simply goes through the motions as does almost everything and everyone else in the film as a whole.
I want to say that it could have been better, but I can not. I think that Jones and his team have probably done a reasonable job of adapting this game but that is what it is, a derivative PC game and hardly suitable for a movie of this scale.
When will they learn?
Charlie Cobra Reviews (1840 KP) rated Blood & Treasure in TV
Jul 7, 2020
Good Summer Series That Works Well
Blood & Treasure is an action/adventure drama series created by Matthew Federman and Stephen Scaia. It was produced by Propagate, Lake June Productions and CBS Television Studios and distributed by CBS Television Distributions.
Art expert Danny McNamara recruits an old flame, Lexi Vaziri, a professional thief, to help rescue Dr. Ana Castillo, his mentor, who after discovering the tomb of Mark Antony and Cleopatra was abducted by terrorists. The tomb was missing the sarcophagus of Cleopatra and also contained the remains of dead Nazis who were sealed in by a mysterious cult. Lexi and Danny track stolen antiques to an auction and kidnap the terrorists middleman, Aiden Shaw. Lexi let's him escape so they can follow him and they pursue him over the border. Shaw tries to sell his antiques back to Karim Farouk, the terrorist leader involved in the abduction of Castillo and explosion of the Pyramid. Farouk shoots Shaw and escapes while Lexi chases after and Danny rescues Castillo. Danny determines two things with Castillo's help: the cult that killed the Nazis are the key to finding the bodies and Farouk plans to weapons the curse of Cleopatra and Antony.
This show has been consistently really good. I am excited to see where it goes plot wise and it's overall story arc. Very enjoyable, really good acting and fast paced. Lexi is such a great character, she's beautiful, kicks ass and doesn't ask for permission. People complain about how it shifts perspective from past to present but no think it has become a staple of the show and makes it unique. It does have a familiar feel to it something like Indiana Jones meets Da Vinci Code but nothing supernatural yet. I hope that this show does well enough for a second season or at least is able to finish the plot of the first season. Critics are tearing it apart online but its a pretty decent show. I really like how they are constantly shooting in different locations that look beautiful from around the world. I give it a 7/10.
Art expert Danny McNamara recruits an old flame, Lexi Vaziri, a professional thief, to help rescue Dr. Ana Castillo, his mentor, who after discovering the tomb of Mark Antony and Cleopatra was abducted by terrorists. The tomb was missing the sarcophagus of Cleopatra and also contained the remains of dead Nazis who were sealed in by a mysterious cult. Lexi and Danny track stolen antiques to an auction and kidnap the terrorists middleman, Aiden Shaw. Lexi let's him escape so they can follow him and they pursue him over the border. Shaw tries to sell his antiques back to Karim Farouk, the terrorist leader involved in the abduction of Castillo and explosion of the Pyramid. Farouk shoots Shaw and escapes while Lexi chases after and Danny rescues Castillo. Danny determines two things with Castillo's help: the cult that killed the Nazis are the key to finding the bodies and Farouk plans to weapons the curse of Cleopatra and Antony.
This show has been consistently really good. I am excited to see where it goes plot wise and it's overall story arc. Very enjoyable, really good acting and fast paced. Lexi is such a great character, she's beautiful, kicks ass and doesn't ask for permission. People complain about how it shifts perspective from past to present but no think it has become a staple of the show and makes it unique. It does have a familiar feel to it something like Indiana Jones meets Da Vinci Code but nothing supernatural yet. I hope that this show does well enough for a second season or at least is able to finish the plot of the first season. Critics are tearing it apart online but its a pretty decent show. I really like how they are constantly shooting in different locations that look beautiful from around the world. I give it a 7/10.
Movie Metropolis (309 KP) rated The BFG (2016) in Movies
Jun 10, 2019
Spielberg, where are you?
Roald Dahl’s inspiring novels have had a chequered history when it comes to turning them into films. Danny DeVito’s Matilda is widely regarded as one of the best adaptations, with Tim Burton’s Charlie & the Chocolate Factory rendered a monstrosity by fans of the author and movie critics alike.
So when Steven Spielberg was announced as director of The BFG, my personal favourite of all Dahl’s novels, I was equal parts pleased and wary. Could my favourite filmmaker really do this amazing book justice?
Partially is the short answer. Spielberg proves a safe pair of hands as usual, but it lacks his trademark flair, losing the darker, more brooding elements of the source material in the process.
Ten-year-old Sophie (Ruby Barnhill) experiences the adventure of a lifetime when she meets the Big Friendly Giant (Mark Rylance). Naturally scared at first, she soon realizes that the 24-foot behemoth is actually gentle and charming. As their friendship grows, Sophie’s presence attracts the unwanted attention of Bloodbottler, Fleshlumpeater and other giants. After traveling to London, Sophie and the BFG must convince the Queen to help them get rid of all the bad giants once and for all.
Casting wise, The BFG is practically spot on with Mark Rylance being exceptional in the titular role. It was always going to be hard to fill the shoes of David Jason, who tackled the character in the 1989 TV film, but he is perfect; getting the mannerisms and voice down to a tee. The motion capture used to render Rylance’s face onto the giant is breath-taking and some of the best I’ve seen. Elsewhere, Ruby Barnhill certainly has the look of Sophie, but lacks the acting finesse of some child actors.
The cinematography is both beautiful and at times hard to stomach. The opening sequence in which Sophie is taken from her bed to Giant Country is stunning, climaxing in a first-person view of the far-away land. Unfortunately, Spielberg’s avoidance of shaky cam lends an almost video-game feel to the scene that proves nauseating after a few minutes.
The BFG also suffers when both its main characters share a close-up. In particular, when Sophie is being carried by the giant, the motions look continuously jerky and spoil an otherwise impeccably rendered film – you can see where the $140million was spent.
Unfortunately, John Williams’ score lacks any sort of punch and feels sorely out of place in certain parts of the film. This is even more unusual considering the pairing of Spielberg and Williams has given us greats like Jurassic Park, E.T. and Indiana Jones.
Nevertheless, this is a sweet film that children and adults should enjoy. The themes of friendship and loneliness can resonate with all generations and a packed-out cinema proves just what a draw Roald Dahl still is to this day.
Overall, The BFG is everything most families will want from a summer holiday blockbuster. It’s sugary sweet, with great special effects, engaging acting and a wonderful story that follows its source material reasonably well. However, for Spielberg fans, it’s puzzling because the director’s presence feels a little lost. There’s a lot to like, but not a lot to love.
https://moviemetropolis.net/2016/07/28/spielberg-where-are-you-the-bfg-review/
So when Steven Spielberg was announced as director of The BFG, my personal favourite of all Dahl’s novels, I was equal parts pleased and wary. Could my favourite filmmaker really do this amazing book justice?
Partially is the short answer. Spielberg proves a safe pair of hands as usual, but it lacks his trademark flair, losing the darker, more brooding elements of the source material in the process.
Ten-year-old Sophie (Ruby Barnhill) experiences the adventure of a lifetime when she meets the Big Friendly Giant (Mark Rylance). Naturally scared at first, she soon realizes that the 24-foot behemoth is actually gentle and charming. As their friendship grows, Sophie’s presence attracts the unwanted attention of Bloodbottler, Fleshlumpeater and other giants. After traveling to London, Sophie and the BFG must convince the Queen to help them get rid of all the bad giants once and for all.
Casting wise, The BFG is practically spot on with Mark Rylance being exceptional in the titular role. It was always going to be hard to fill the shoes of David Jason, who tackled the character in the 1989 TV film, but he is perfect; getting the mannerisms and voice down to a tee. The motion capture used to render Rylance’s face onto the giant is breath-taking and some of the best I’ve seen. Elsewhere, Ruby Barnhill certainly has the look of Sophie, but lacks the acting finesse of some child actors.
The cinematography is both beautiful and at times hard to stomach. The opening sequence in which Sophie is taken from her bed to Giant Country is stunning, climaxing in a first-person view of the far-away land. Unfortunately, Spielberg’s avoidance of shaky cam lends an almost video-game feel to the scene that proves nauseating after a few minutes.
The BFG also suffers when both its main characters share a close-up. In particular, when Sophie is being carried by the giant, the motions look continuously jerky and spoil an otherwise impeccably rendered film – you can see where the $140million was spent.
Unfortunately, John Williams’ score lacks any sort of punch and feels sorely out of place in certain parts of the film. This is even more unusual considering the pairing of Spielberg and Williams has given us greats like Jurassic Park, E.T. and Indiana Jones.
Nevertheless, this is a sweet film that children and adults should enjoy. The themes of friendship and loneliness can resonate with all generations and a packed-out cinema proves just what a draw Roald Dahl still is to this day.
Overall, The BFG is everything most families will want from a summer holiday blockbuster. It’s sugary sweet, with great special effects, engaging acting and a wonderful story that follows its source material reasonably well. However, for Spielberg fans, it’s puzzling because the director’s presence feels a little lost. There’s a lot to like, but not a lot to love.
https://moviemetropolis.net/2016/07/28/spielberg-where-are-you-the-bfg-review/
Bob Mann (459 KP) rated Censor (2021) in Movies
Sep 3, 2021
Niamh Algar is fabulous (1 more)
Novel story and great direction
A genuinely original story (at last!)
Positives:
- I often whinge on about there being no novelty in movies anymore, with everything being derivative of everything else. Well here's a case for the defence. There have been movies before about the mental effect of working in the horror movie business (Toby Jones in "Berberian Sound Studio" comes to mind). But none (as far as I'm aware) from the viewpoint of a film censor. This novelty gave the movie the scope to go in a number of different directions - including as a historical drama. But it focuses on a study of how loss and grief can suddenly emerge in dramatic ways even after many years. Director Prano Bailey-Bond co-wrote this and directs it with such verve that she is very much added to my "one to watch" list for writer-directors.
- Irish actress Niamh Algar is just brilliant here, reminiscent of Morfydd Clark's fantastic performance in "Saint Maud" (not the only parallel to be drawn in this review). The acting during the dramatic conclusion is utterly chilling.
- While the ending of the movie might be polarising, I loved it. No spoilers, but it's one of my favourite endings of any movie so far this year. It reminded me strongly of the ending of "Saint Maud".
- The editing is by Mark Towns (who also did "Saint Maud"). And it's bloody marvellous, particularly during that finale! While it doesn't shy away from showing some pretty horrible stuff, Towns shows much of this subliminally in the edit (shades of the "Psycho" shower scene). This probably helped with its certification (of which more later).
- The music by Emilie Levienaise-Farrouch is quirky and fitting for the movie. I loved the jaunty end-title music.
- Has one of the best impalings since Timothy Dalton fell on that model church spire in "Hot Fuzz"!
Negatives:
- While Algar is utterly fabulous, I was less convinced by the acting of some of her fellow censors in the office. Some of this felt a bit wooden to me.
Summary Thoughts on "Censor": The workings of the UK film censors have always fascinated me, and here's a novel insight into their work during a very difficult period in their history: the National Viewers and Listener's Association, headed by the fearsome Mary Whitehouse, was up in arms at the potential damage to people's (and particularly children's) mental wellbeing from the influx of "video nasties" arriving in homes on VHS tapes. The film needs to be applauded for coming up with such a novel storyline.
What I found surprising (and ironic) is that this got away with only a "15" certificate. Editor Mark Towns suggested to me, in a private communication on Twitter, that the BBFC rated it thus due to the "context" in which the violence was set. But I remember the first 'X' film I saw. It was Brian De Palma's "The Fury", which (from memory) was purely rated as such for the final scene in which John Cassavetes's character explodes in a gory fountain. Judging from "Censor"'s "15" certificate, things have become significantly more permissive in recent years!
(For the full graphical review check out onemannsmovies on the web, facebook and (for the video review) Tiktok. Thanks)
- I often whinge on about there being no novelty in movies anymore, with everything being derivative of everything else. Well here's a case for the defence. There have been movies before about the mental effect of working in the horror movie business (Toby Jones in "Berberian Sound Studio" comes to mind). But none (as far as I'm aware) from the viewpoint of a film censor. This novelty gave the movie the scope to go in a number of different directions - including as a historical drama. But it focuses on a study of how loss and grief can suddenly emerge in dramatic ways even after many years. Director Prano Bailey-Bond co-wrote this and directs it with such verve that she is very much added to my "one to watch" list for writer-directors.
- Irish actress Niamh Algar is just brilliant here, reminiscent of Morfydd Clark's fantastic performance in "Saint Maud" (not the only parallel to be drawn in this review). The acting during the dramatic conclusion is utterly chilling.
- While the ending of the movie might be polarising, I loved it. No spoilers, but it's one of my favourite endings of any movie so far this year. It reminded me strongly of the ending of "Saint Maud".
- The editing is by Mark Towns (who also did "Saint Maud"). And it's bloody marvellous, particularly during that finale! While it doesn't shy away from showing some pretty horrible stuff, Towns shows much of this subliminally in the edit (shades of the "Psycho" shower scene). This probably helped with its certification (of which more later).
- The music by Emilie Levienaise-Farrouch is quirky and fitting for the movie. I loved the jaunty end-title music.
- Has one of the best impalings since Timothy Dalton fell on that model church spire in "Hot Fuzz"!
Negatives:
- While Algar is utterly fabulous, I was less convinced by the acting of some of her fellow censors in the office. Some of this felt a bit wooden to me.
Summary Thoughts on "Censor": The workings of the UK film censors have always fascinated me, and here's a novel insight into their work during a very difficult period in their history: the National Viewers and Listener's Association, headed by the fearsome Mary Whitehouse, was up in arms at the potential damage to people's (and particularly children's) mental wellbeing from the influx of "video nasties" arriving in homes on VHS tapes. The film needs to be applauded for coming up with such a novel storyline.
What I found surprising (and ironic) is that this got away with only a "15" certificate. Editor Mark Towns suggested to me, in a private communication on Twitter, that the BBFC rated it thus due to the "context" in which the violence was set. But I remember the first 'X' film I saw. It was Brian De Palma's "The Fury", which (from memory) was purely rated as such for the final scene in which John Cassavetes's character explodes in a gory fountain. Judging from "Censor"'s "15" certificate, things have become significantly more permissive in recent years!
(For the full graphical review check out onemannsmovies on the web, facebook and (for the video review) Tiktok. Thanks)
Gareth von Kallenbach (971 KP) rated Broken City (2013) in Movies
Aug 7, 2019
In Broken City, Russell Crowe and Mark Wahlberg wade into the streets of a
fictional New York, portraying its mayor and a tormented cop, respectively. This film is very political, and it drives to the heart of an issue found all around our country: corruption at every level, especially the highest.
The story starts with a shooting. As one might imagine, officers are easily found innocent in shootings because of the nature of their job, and thus Billy Taggart(Wahlberg) is found innocent after facing accusations of murder. Unfortunately, Mayor Nicholas Hostetler (Crowe) has damning evidence that would cause considerable harm to the officer — who’s earned a reputation as a hero — as well
as the city leaders, if it were brought to light. He decides to let Taggart go, and allow everyone to save face, with a handshake and a promise of future remembrance.
Seven years later the tides turn, as Private Eye Taggart is asked by Mayor
Hostetler to investigate his wife (Catherine Zeta-Jones) for a hefty sum of money.
The cash-strapped Taggart takes the job, but finds himself diving headfirst into a political feeding frenzy two weeks prior to the election. Naturally, drama ensues.
Broken City is not a bad film. The problem is: it’s also not a great film. It has many of the elements of a good movie, but something is missing. It’s hard to blame the writing, as there was well-balanced humor and drama. It’s hard to blame
the cinematography, because the key shots are there. (But some awkward shots are there, too. For example, there’s an odd, segmented spinning shot of Crowe and Wahlberg in the mayor’s office.) It’s hard to blame the acting; everyone does a great job in that regard. But there was just something missing. I wasn’t drawn in.
The movie felt rushed in certain areas, and too long in others. It had major plot holes, like when (spoiler alert) Taggart’s girlfriend disappears, but never resurfaces. The main character never gets a true, deep, passionate call-to-action, which all heroes are supposed to have.
I enjoyed the role of Taggart’s assistant. Even the ending was a fresh take (though somewhat expected, because the main character wasn’t conflicted and chaotic enough to merit an unknown response).
All in all, Broken City is a good movie, but not a great one. You would be well-served to rent or stream it, and save your theater dollars.
fictional New York, portraying its mayor and a tormented cop, respectively. This film is very political, and it drives to the heart of an issue found all around our country: corruption at every level, especially the highest.
The story starts with a shooting. As one might imagine, officers are easily found innocent in shootings because of the nature of their job, and thus Billy Taggart(Wahlberg) is found innocent after facing accusations of murder. Unfortunately, Mayor Nicholas Hostetler (Crowe) has damning evidence that would cause considerable harm to the officer — who’s earned a reputation as a hero — as well
as the city leaders, if it were brought to light. He decides to let Taggart go, and allow everyone to save face, with a handshake and a promise of future remembrance.
Seven years later the tides turn, as Private Eye Taggart is asked by Mayor
Hostetler to investigate his wife (Catherine Zeta-Jones) for a hefty sum of money.
The cash-strapped Taggart takes the job, but finds himself diving headfirst into a political feeding frenzy two weeks prior to the election. Naturally, drama ensues.
Broken City is not a bad film. The problem is: it’s also not a great film. It has many of the elements of a good movie, but something is missing. It’s hard to blame the writing, as there was well-balanced humor and drama. It’s hard to blame
the cinematography, because the key shots are there. (But some awkward shots are there, too. For example, there’s an odd, segmented spinning shot of Crowe and Wahlberg in the mayor’s office.) It’s hard to blame the acting; everyone does a great job in that regard. But there was just something missing. I wasn’t drawn in.
The movie felt rushed in certain areas, and too long in others. It had major plot holes, like when (spoiler alert) Taggart’s girlfriend disappears, but never resurfaces. The main character never gets a true, deep, passionate call-to-action, which all heroes are supposed to have.
I enjoyed the role of Taggart’s assistant. Even the ending was a fresh take (though somewhat expected, because the main character wasn’t conflicted and chaotic enough to merit an unknown response).
All in all, Broken City is a good movie, but not a great one. You would be well-served to rent or stream it, and save your theater dollars.
BankofMarquis (1832 KP) rated Spies in Disguise (2019) in Movies
Dec 7, 2020
Strong chemistry between Smith and Holland
Blue Sky Animation Studios has often been seen as the "poor little sister" in the animation game - behind Disney/Pixar and Dreamworks - and is often listed as the "Ice Age" studio. But, if you look into their filmography, you will see a solid mark of quality throughout.
This studio has delivered solid animated outings with such fare as ROBOTS, HORTON HEARS A WHO, RIO and FERDINAND (along with the myriad of ICE AGE films) and their latest feature - 2019's SPIES IN DISGUISE - is no exception. I was pleasantly surprised by the fun, action, comedy and suspense of this film and was entertained throughout.
Blue Sky, of course, IS the "poor little sister" to the "Big 2" and it shows in some of their casting choices. Where I thought vocal work was being done by Tina Fey and Holly Hunter, I soon discovered that it is Rachel Brosnahan and Reba Mcintyre - not shabby at all, but not quite the "A" team either (it's like you are listening to the Broadway replacement actors for the Original Cast).
That is probably because they spent all of their casting money on the 2 leads - Will Smith and Tom Holland - and they are TERRIFIC together. Unlike Holland's lackluster (and lack of chemistry) turn with Chris Pratt in the PIXAR film ONWARD, Holland and Smith work well together in this film and I enjoyed their interactions with each other. Of course, Will Smith is in a league of his own when it comes to charming, cocky adventure hero with raw emotions and a soul - and that is EXACTLY what his character is and it works very, very well. Add to that Holland's riff on his Spiderman Peter Parker character - a scientific genius who is socially awkward and we have a fun duo to root for throughout this film.
Other outstanding voice talents in this cast include Masi Oka (who's voice would be terrific in just about ANY animation film), Rashida Jones, Karen Gillen and the always good Ben Mendelsohn as the villain.
Directors Nick Bruno (in his Directorial debut) and Troy Quane (in only his 2nd Animated outing) do a professional job keeping the plot moving, the fun brewing and the plot and action scenes simple and easy to follow (an easy thing to screw up) and this makes SPIES IN DISGUISE a very fun escape for an hour and 42 minutes.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
This studio has delivered solid animated outings with such fare as ROBOTS, HORTON HEARS A WHO, RIO and FERDINAND (along with the myriad of ICE AGE films) and their latest feature - 2019's SPIES IN DISGUISE - is no exception. I was pleasantly surprised by the fun, action, comedy and suspense of this film and was entertained throughout.
Blue Sky, of course, IS the "poor little sister" to the "Big 2" and it shows in some of their casting choices. Where I thought vocal work was being done by Tina Fey and Holly Hunter, I soon discovered that it is Rachel Brosnahan and Reba Mcintyre - not shabby at all, but not quite the "A" team either (it's like you are listening to the Broadway replacement actors for the Original Cast).
That is probably because they spent all of their casting money on the 2 leads - Will Smith and Tom Holland - and they are TERRIFIC together. Unlike Holland's lackluster (and lack of chemistry) turn with Chris Pratt in the PIXAR film ONWARD, Holland and Smith work well together in this film and I enjoyed their interactions with each other. Of course, Will Smith is in a league of his own when it comes to charming, cocky adventure hero with raw emotions and a soul - and that is EXACTLY what his character is and it works very, very well. Add to that Holland's riff on his Spiderman Peter Parker character - a scientific genius who is socially awkward and we have a fun duo to root for throughout this film.
Other outstanding voice talents in this cast include Masi Oka (who's voice would be terrific in just about ANY animation film), Rashida Jones, Karen Gillen and the always good Ben Mendelsohn as the villain.
Directors Nick Bruno (in his Directorial debut) and Troy Quane (in only his 2nd Animated outing) do a professional job keeping the plot moving, the fun brewing and the plot and action scenes simple and easy to follow (an easy thing to screw up) and this makes SPIES IN DISGUISE a very fun escape for an hour and 42 minutes.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated Bridget Jones's Baby (2016) in Movies
Sep 29, 2021
Come the F*** on Bridget… who’s the Daddy?
The world’s favourite lonely-hearts diarist is back. Bridget (Renée Zellweger) once again starts the film ‘all by herself’, haunted by occasional meetings with ex-flame Mark D’Arcy (Colin Firth) – now married to Camilla (Agni Scott) – and facing the natural discomfort of the early funeral of another friend who has died way too young. And at 43, Bridget’s biological clock is also ticking towards parental midnight.
Proving that enormous ditzyness and lack of talent need not be an impediment to a successful career, Bridget is now a top TV floor manager on a cable news station, anchored by friend Miranda (an excellent Sarah Solemani). In an effort to shake Bridget out of her malaise, Miranda takes her to a music festival (featuring some fun cameos!) where she has a one-night-stand with the delectable (speaking at least for all the women in my audience) Jack (Patrick Dempsey). Following another one-night-stand with D’Arcy and finding herself pregnant, a comedy of farce follows with one expectant mother and two prospective fathers competing for Bridget’s affections.
OK. So it’s not bloody Shakespeare. But it is an extremely well-crafted comedy, and as a British rom-com it significantly out-does many of the efforts of the rom-com king – Richard Curtis – in recent years. As a series its just amazing how many of the original cast have been reunited after 2004’s rather lacklustre “Bridget Jones: Edge of Reason”. Particularly effective are Bridget’s parents, played by the delectably Tory Gemma Jones and the ever-perfect Jim Broadbent. And Bridget’s trio of irreverent friends: Shazzer (Sally Phillips), Jude (Shirley Henderson) and Tom (James Callis) are all back. All are either well into parenthood or have impending parenthood, adding to the pressure on Bridget’s aching ovaries.
New to the cast, and brilliant in every scene she’s in, is the ever-radiant Emma Thompson as Bridget’s doctor. Is there any actress in the movies today that can deliver a comic line better-timed than Thompson? I doubt it. Just superb. And Thompson also co-wrote the screenplay, together with Bridget author Helen Fielding and – an unlikely contributor – Ali G collaborator Dan Mazer. All contribute to a sizzling script – not based on Fielding’s poorly received story – that zips along and makes the 123 minute run-time fly by. My one reservation would be – despite the film being set in the current day – lapses into internet memes like Hitler Cats and song crazes that are at least five years out of date. But I forgive that for the Colin Firth ‘Gangnam’ line, for me the funniest in the whole film.
Zellweger looks fantastic, pulling off the 4 year age difference from her character with ease. And isn’t it wonderful to see a middle-aged character as the centre of a rom-com for once? Hollywood would be well to remember that romance is not restricted to the 20-somethings. Certainly the packed cinema – filled with probably 90% (well oiled) women – certainly thought so, in what was a raucous and entertaining showing!
The music is superbly supported by an epic soundtrack of well-chosen tracks from Ellie Goulding, Years and Years, Jess Glynne, Lily Allen (with very funny adult content!) and classic oldies, all wrappered with nice themes by the brilliant and underrated Craig “Love Actually” Armstrong.
Sharon Maguire – the director of the original “Diary” – has delivered here a fun, absorbing and enormously entertaining piece of fluff that deserves to do well. And it has in the UK, making $11M in its opening weekend here and playing to packed showings. However – incomprehensibly – it has bombed in the US with only $8M coming in. Hopefully it might prove a bit of a sleeper hit there: come on America… we go to see all of the rubbish rom-coms you send over here, and this is way better than most of those!
This was a film I was determined to be sniffy about with my rating. But as a) I enjoyed it very much and b) a packed audience of women can’t be wrong…
Proving that enormous ditzyness and lack of talent need not be an impediment to a successful career, Bridget is now a top TV floor manager on a cable news station, anchored by friend Miranda (an excellent Sarah Solemani). In an effort to shake Bridget out of her malaise, Miranda takes her to a music festival (featuring some fun cameos!) where she has a one-night-stand with the delectable (speaking at least for all the women in my audience) Jack (Patrick Dempsey). Following another one-night-stand with D’Arcy and finding herself pregnant, a comedy of farce follows with one expectant mother and two prospective fathers competing for Bridget’s affections.
OK. So it’s not bloody Shakespeare. But it is an extremely well-crafted comedy, and as a British rom-com it significantly out-does many of the efforts of the rom-com king – Richard Curtis – in recent years. As a series its just amazing how many of the original cast have been reunited after 2004’s rather lacklustre “Bridget Jones: Edge of Reason”. Particularly effective are Bridget’s parents, played by the delectably Tory Gemma Jones and the ever-perfect Jim Broadbent. And Bridget’s trio of irreverent friends: Shazzer (Sally Phillips), Jude (Shirley Henderson) and Tom (James Callis) are all back. All are either well into parenthood or have impending parenthood, adding to the pressure on Bridget’s aching ovaries.
New to the cast, and brilliant in every scene she’s in, is the ever-radiant Emma Thompson as Bridget’s doctor. Is there any actress in the movies today that can deliver a comic line better-timed than Thompson? I doubt it. Just superb. And Thompson also co-wrote the screenplay, together with Bridget author Helen Fielding and – an unlikely contributor – Ali G collaborator Dan Mazer. All contribute to a sizzling script – not based on Fielding’s poorly received story – that zips along and makes the 123 minute run-time fly by. My one reservation would be – despite the film being set in the current day – lapses into internet memes like Hitler Cats and song crazes that are at least five years out of date. But I forgive that for the Colin Firth ‘Gangnam’ line, for me the funniest in the whole film.
Zellweger looks fantastic, pulling off the 4 year age difference from her character with ease. And isn’t it wonderful to see a middle-aged character as the centre of a rom-com for once? Hollywood would be well to remember that romance is not restricted to the 20-somethings. Certainly the packed cinema – filled with probably 90% (well oiled) women – certainly thought so, in what was a raucous and entertaining showing!
The music is superbly supported by an epic soundtrack of well-chosen tracks from Ellie Goulding, Years and Years, Jess Glynne, Lily Allen (with very funny adult content!) and classic oldies, all wrappered with nice themes by the brilliant and underrated Craig “Love Actually” Armstrong.
Sharon Maguire – the director of the original “Diary” – has delivered here a fun, absorbing and enormously entertaining piece of fluff that deserves to do well. And it has in the UK, making $11M in its opening weekend here and playing to packed showings. However – incomprehensibly – it has bombed in the US with only $8M coming in. Hopefully it might prove a bit of a sleeper hit there: come on America… we go to see all of the rubbish rom-coms you send over here, and this is way better than most of those!
This was a film I was determined to be sniffy about with my rating. But as a) I enjoyed it very much and b) a packed audience of women can’t be wrong…
Connor Sheffield (293 KP) rated Star Wars: Episode IV - A New Hope (1977) in Movies
Apr 20, 2017
The beginning of an era that will last a life time (3 more)
Character
Special Effects
Movie Score that is highly recognizable
Han Shot First!!!
Star Wars...the movie no one believed would become anywhere close to the success it is today. Not even George Lucas believed it would be as big as it is, but that's the beauty of it.
Star Wars wasn't just the beginning of a new fandom, it was also the beginning of a new era for film itself. Skywalker Sound revolutionized special sound effects and and the CGI used in Star Wars (during it's original release) made directors like Steven Spielberg realise they can bring their dreams to life, such as the film Jurassic Park which then revolutionized film even further.
Introducing new and original characters such as Luke Skywalker, Princess Leia, Han Solo, Chewbacca, Darth Vader and so many more! The film introduced the strong female role model in what is actually a kid's film. Carrie Fisher portrayed Princess Leia and there has never been anyone quite as brilliant as her since, because at only 19 years old during the first film, she became an icon and one of the strongest woman on screen.
All 3 of the main cast went on to take on great roles. Mark Hamill is probably most famous for his voice over work in cartoon shows such as Batman the Animated series where he has become the most famous voice for The Joker, taking on the role multiple times including in the Batman Arkham video games. Harrison Ford went on to star in many famous roles in big blockbuster films such as Indiana Jones, Apocalypse Now, Blade Runner and many more. Carrie Fisher went on to star in When Harry Met Sally, Drop Dead Fred, and Scream 3.
The villain of the film quickly became one of the most badass and recognizable villains to ever appear on the big screen...Darth Vader! He was menacing, manipulative, and powerful.
The visuals of this film were incredible for the time, from the space battles to the lightsabers. Not to mention that a lot of the space ships, and the death star trench are all models with actual (mini) explosions.
Star Wars is so popular these days that it has been parodied and praised by countless other films, TV shows, sketches, art, porn and almost anything you can think of.
It even has a holiday after it 'May the 4th be with you' (May the force be with you), now known simply as May the 4th. Along with conventions and celebrations, Star Wars has become more of a way of life for a lot of people and not just a fandom.
Star Wars wasn't just the beginning of a new fandom, it was also the beginning of a new era for film itself. Skywalker Sound revolutionized special sound effects and and the CGI used in Star Wars (during it's original release) made directors like Steven Spielberg realise they can bring their dreams to life, such as the film Jurassic Park which then revolutionized film even further.
Introducing new and original characters such as Luke Skywalker, Princess Leia, Han Solo, Chewbacca, Darth Vader and so many more! The film introduced the strong female role model in what is actually a kid's film. Carrie Fisher portrayed Princess Leia and there has never been anyone quite as brilliant as her since, because at only 19 years old during the first film, she became an icon and one of the strongest woman on screen.
All 3 of the main cast went on to take on great roles. Mark Hamill is probably most famous for his voice over work in cartoon shows such as Batman the Animated series where he has become the most famous voice for The Joker, taking on the role multiple times including in the Batman Arkham video games. Harrison Ford went on to star in many famous roles in big blockbuster films such as Indiana Jones, Apocalypse Now, Blade Runner and many more. Carrie Fisher went on to star in When Harry Met Sally, Drop Dead Fred, and Scream 3.
The villain of the film quickly became one of the most badass and recognizable villains to ever appear on the big screen...Darth Vader! He was menacing, manipulative, and powerful.
The visuals of this film were incredible for the time, from the space battles to the lightsabers. Not to mention that a lot of the space ships, and the death star trench are all models with actual (mini) explosions.
Star Wars is so popular these days that it has been parodied and praised by countless other films, TV shows, sketches, art, porn and almost anything you can think of.
It even has a holiday after it 'May the 4th be with you' (May the force be with you), now known simply as May the 4th. Along with conventions and celebrations, Star Wars has become more of a way of life for a lot of people and not just a fandom.
Charlie Cobra Reviews (1840 KP) rated Brightburn (2019) in Movies
Jul 7, 2020
Horror Twist On A Classic Comic Book Icon
Brightburn is a 2019 superhero/horror movie produced by James Gunn and Kenneth Huang. It was directed by David Yarovesky with screenplay written by Mark and Brian Gunn. The film was produced by Screen Gems, Stage 6 Films, Troll Court Entertainment, and the H Collective. The movie stars Elizabeth Banks, David Denman, Jackson A. Dunn, Matt Jones and Meredith Hagnar.
Living in Brightburn, Kansas, Tori (Elizabeth Banks) and Kyle Breyer (David Denman), a young farm couple, struggle with conceiving a child due to fertility issues. One night, a spaceship falls from the sky near their farm. A baby boy is found inside and the couple decide to adopt him and name him Brandon. Years later, it seems Brandon (Jackson A. Dunn) is a typical young boy as he has been raised without the knowledge of his true origin. However this begins to change in very dramatic ways as the spaceship that he arrived in, hidden in a trapdoor in the barn, begins to glow and affect him disturbingly.
This movie was very much horror and with the R-rating it did not disappoint in that category. However for a superhero movie, I definitely felt it could have been better, especially when it came to the storytelling. I felt like the plot wasn't structured enough and it didn't always feel like it was going somewhere except for what it had shown through the trailers. You know, like it showed in the trailers the outcome and the journey to that outcome wasn't as fun or surprising as I thought it was going to be. The kill scenes though were very brutal, which for some reason I wasn't expecting as much, I guess because the one doing them is this super-powered 12 year old. But this was an awesome concept on a very familiar story that everyone has grown up with or heard, which is basically Superman. There are comics from DC and of Superman like Red Son Superman; where it's a "what if" Superman had landed in Russia instead of United States, and there is a Justice League animated film where instead of Superman, Kal-El, the baby that escapes Krypton is Generel Zod's child and instead of landing in Kansas he lands in New Mexico and is raised by Mexican migrant farmers. But I don't think there has been a story to explore this type of different way Superman could have grown up and it was shockingly entertaining to say the least. The mid-credits scene was really cool to see as well and know that the cinematic universe for Brightburn could expand if it does well financially. I'm thinking that it won't with stiff competition such as Aladdin and John Wick 3 but who knows. I give this film a 6/10.
Living in Brightburn, Kansas, Tori (Elizabeth Banks) and Kyle Breyer (David Denman), a young farm couple, struggle with conceiving a child due to fertility issues. One night, a spaceship falls from the sky near their farm. A baby boy is found inside and the couple decide to adopt him and name him Brandon. Years later, it seems Brandon (Jackson A. Dunn) is a typical young boy as he has been raised without the knowledge of his true origin. However this begins to change in very dramatic ways as the spaceship that he arrived in, hidden in a trapdoor in the barn, begins to glow and affect him disturbingly.
This movie was very much horror and with the R-rating it did not disappoint in that category. However for a superhero movie, I definitely felt it could have been better, especially when it came to the storytelling. I felt like the plot wasn't structured enough and it didn't always feel like it was going somewhere except for what it had shown through the trailers. You know, like it showed in the trailers the outcome and the journey to that outcome wasn't as fun or surprising as I thought it was going to be. The kill scenes though were very brutal, which for some reason I wasn't expecting as much, I guess because the one doing them is this super-powered 12 year old. But this was an awesome concept on a very familiar story that everyone has grown up with or heard, which is basically Superman. There are comics from DC and of Superman like Red Son Superman; where it's a "what if" Superman had landed in Russia instead of United States, and there is a Justice League animated film where instead of Superman, Kal-El, the baby that escapes Krypton is Generel Zod's child and instead of landing in Kansas he lands in New Mexico and is raised by Mexican migrant farmers. But I don't think there has been a story to explore this type of different way Superman could have grown up and it was shockingly entertaining to say the least. The mid-credits scene was really cool to see as well and know that the cinematic universe for Brightburn could expand if it does well financially. I'm thinking that it won't with stiff competition such as Aladdin and John Wick 3 but who knows. I give this film a 6/10.