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Movie Metropolis (309 KP) rated 10 Cloverfield Lane (2016) in Movies
Jun 11, 2019
Somewhat misleading but thrilling nonetheless
It’s best to start off this review as honest as possible. If you’re expecting a fully-fledged sequel or even a prequel to Matt Reeves’ brilliant monster horror, Cloverfield in 10 Cloverfield Lane, you’ll be very disappointed.
But, if you’re expecting a superbly written, well-acted and claustrophobic thriller, then this is definitely the film for you. Dan Trachtenberg, who makes his directorial debut with this feature, has crafted a taut film that has no real connection with the 2008 hit. So is it as good?
10 Cloverfield Lane follows Michelle (Mary Elizabeth Winstead) as she embarks on a new chapter in her life after a break-up. Unfortunately, a car crash leaves her seriously injured and unconscious. After waking up in an underground bunker, she meets her saviour in Howard (John Goodman), and as the story progresses, Michelle and fellow resident Emmett, try to make a bid for freedom.
The performances by the cast of three are terrific with Winstead coming on leaps and bounds since her role in Final Destination 3 and John Goodman is absolutely incredible. Cloverfield utilised its monster very well, but Goodman is more than a match with a simple shaking of his fists – his booming voice and burly frame mean he was a perfect casting choice and a human as psychotic as Howard is infinitely more terrifying to me than any monster.
It’s all very Hitchcockian, claustrophobic and exceptionally tense. Director Dan Trachtenberg has a real eye for the smaller details and the underground bunker setting is the perfect location to craft this kind of film. The use of jagged camera angles and low shots help aid the enclosed feeling and you can’t help but become panicked with Michelle, as she desperately tries to figure out a way to freedom.
After the bloated mess of London Has Fallen and the overlong Allegiant, it’s nice to see a film that doesn’t dwell more than it needs to. At 103 minutes, 10 Cloverfield Lane is relatively short and all the better for it. Despite only having three characters and being confined to a few small rooms for the majority of the running time, it never drags or becomes dull.
Unfortunately, the final third unravels a little of this good work, coming across like the ending to a completely different film; but Trachtenberg’s ideas and reasoning behind the finale are clear throughout, despite the lack of connection to the two acts that preceded it.
Overall, 10 Cloverfield Lane is a smart and well-thought out thriller that is related to Cloverfield in name only. That’s no bad thing, as the film we are left with is one of the best directorial debuts in years, even though its muddled ending leaves somewhat of a sour taste.
https://moviemetropolis.net/2016/03/20/somewhat-misleading-but-thrilling-nonetheless-10-cloverfield-lane-review/
But, if you’re expecting a superbly written, well-acted and claustrophobic thriller, then this is definitely the film for you. Dan Trachtenberg, who makes his directorial debut with this feature, has crafted a taut film that has no real connection with the 2008 hit. So is it as good?
10 Cloverfield Lane follows Michelle (Mary Elizabeth Winstead) as she embarks on a new chapter in her life after a break-up. Unfortunately, a car crash leaves her seriously injured and unconscious. After waking up in an underground bunker, she meets her saviour in Howard (John Goodman), and as the story progresses, Michelle and fellow resident Emmett, try to make a bid for freedom.
The performances by the cast of three are terrific with Winstead coming on leaps and bounds since her role in Final Destination 3 and John Goodman is absolutely incredible. Cloverfield utilised its monster very well, but Goodman is more than a match with a simple shaking of his fists – his booming voice and burly frame mean he was a perfect casting choice and a human as psychotic as Howard is infinitely more terrifying to me than any monster.
It’s all very Hitchcockian, claustrophobic and exceptionally tense. Director Dan Trachtenberg has a real eye for the smaller details and the underground bunker setting is the perfect location to craft this kind of film. The use of jagged camera angles and low shots help aid the enclosed feeling and you can’t help but become panicked with Michelle, as she desperately tries to figure out a way to freedom.
After the bloated mess of London Has Fallen and the overlong Allegiant, it’s nice to see a film that doesn’t dwell more than it needs to. At 103 minutes, 10 Cloverfield Lane is relatively short and all the better for it. Despite only having three characters and being confined to a few small rooms for the majority of the running time, it never drags or becomes dull.
Unfortunately, the final third unravels a little of this good work, coming across like the ending to a completely different film; but Trachtenberg’s ideas and reasoning behind the finale are clear throughout, despite the lack of connection to the two acts that preceded it.
Overall, 10 Cloverfield Lane is a smart and well-thought out thriller that is related to Cloverfield in name only. That’s no bad thing, as the film we are left with is one of the best directorial debuts in years, even though its muddled ending leaves somewhat of a sour taste.
https://moviemetropolis.net/2016/03/20/somewhat-misleading-but-thrilling-nonetheless-10-cloverfield-lane-review/
BankofMarquis (1832 KP) rated Good Will Hunting (1997) in Movies
Jul 9, 2021
Well Deserved Oscars for Williams, Damon and Affleck
One of the benefits of “Secret Movie Night” is that it forces me to watch (or rewatch) a film that I would not seek out on my own. Such is the case with this month’s selection - GOOD WILL HUNTING - the film that made Matt Damon and Ben Affleck stars and earned the late, great Robin Williams his only Academy Award.
Leaning hard on the mantra “write what you know”, GOOD WILL HUNTING tells the tale of a generationally talented math prodigy, who grew up in South Boston and fights his demons to find his place in this world.
Famously, the screenplay of this film earned Damon and Affleck Oscars for Best Original Screenplay and it is well deserved. They paint a picture of life of these “Southies” that appears to me real and genuine. The “family” feel of the friendship of the main characters rings true and Damon and Affleck have real chemistry with each other - like old friends playing off each other.
However, the relationship between Affleck and Damon’s character in this film is only the 3rd best relationship in this film. The best, of course, is the relationship between Will Hunting (Damon) and the shrink that is assigned to him, played by Robin Williams. It is a haunting, raw, emotional and REAL performance by Williams - one very deserving of the Oscar - and I was more than a little sad to watch this performance knowing that this uniquely talented performer is no longer with us.
The surprise to me in this rewatch of the film is the performance of Minnie Driver as a young lady that becomes emotionally attached to Will. Driver’s performance as Harvard student Skylar is also real and the struggles of her character to get a connection with Will was heartbreaking to watch.
Good Will Hunting also features strong supporting work by Stellan Skarsgard as the MIT Math Professor who discovers - and then becomes jealous of - Will’s talents and Ben Affleck’s younger brother, a then unknown Casey Affleck, who steals almost every scene he is in.
All of this would not have worked without the magnificent, Oscar nominated, Direction of Gus Van Sant (DRUGSTORE COWBOY). He was the perfect choice to direct this intimate, personal drama and he has a way of drawing out the emotions and rawness of the characters on the screen without being cloying or overdramatic. He was a strong contender for Best Director that year (as was Good Will Hunting for Best Picture) but it ran into a roadblock that was James Cameron and TITANIC.
If you have never seen this film - or if you haven’t seen this in quite some time - check out GOOD WILL HUNTING, it is well worth your time.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
Leaning hard on the mantra “write what you know”, GOOD WILL HUNTING tells the tale of a generationally talented math prodigy, who grew up in South Boston and fights his demons to find his place in this world.
Famously, the screenplay of this film earned Damon and Affleck Oscars for Best Original Screenplay and it is well deserved. They paint a picture of life of these “Southies” that appears to me real and genuine. The “family” feel of the friendship of the main characters rings true and Damon and Affleck have real chemistry with each other - like old friends playing off each other.
However, the relationship between Affleck and Damon’s character in this film is only the 3rd best relationship in this film. The best, of course, is the relationship between Will Hunting (Damon) and the shrink that is assigned to him, played by Robin Williams. It is a haunting, raw, emotional and REAL performance by Williams - one very deserving of the Oscar - and I was more than a little sad to watch this performance knowing that this uniquely talented performer is no longer with us.
The surprise to me in this rewatch of the film is the performance of Minnie Driver as a young lady that becomes emotionally attached to Will. Driver’s performance as Harvard student Skylar is also real and the struggles of her character to get a connection with Will was heartbreaking to watch.
Good Will Hunting also features strong supporting work by Stellan Skarsgard as the MIT Math Professor who discovers - and then becomes jealous of - Will’s talents and Ben Affleck’s younger brother, a then unknown Casey Affleck, who steals almost every scene he is in.
All of this would not have worked without the magnificent, Oscar nominated, Direction of Gus Van Sant (DRUGSTORE COWBOY). He was the perfect choice to direct this intimate, personal drama and he has a way of drawing out the emotions and rawness of the characters on the screen without being cloying or overdramatic. He was a strong contender for Best Director that year (as was Good Will Hunting for Best Picture) but it ran into a roadblock that was James Cameron and TITANIC.
If you have never seen this film - or if you haven’t seen this in quite some time - check out GOOD WILL HUNTING, it is well worth your time.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
LeftSideCut (3778 KP) rated Hawkeye in TV
Dec 23, 2021
Contains spoilers, click to show
Marvel Studios continue their streak of enjoyable mini-series with Hawkeye, a series that was met with a fair amount of indifference upon its announcement, which is understandable. On the surface , Clint Barton isn't the most exciting Avenger to build a series around, but Hawkeye surprises with a team of decent writers, and a story adapted from Matt Fraction and David Aja's acclaimed comic book run.
Most of Barton's specific plot beats revolve around his family, and his loss of hearing. The human elements ensure that he remains a relatable, street level character. The "Hawkeye" that this series is really about of course is MCU newcomer Kate Bishop, a fan favourite comic character who is portrayed wonderfully by Hailee Steinfeld. The series is essentially her origin story, and I for one can't wait to see her in future projects. The chemistry between Steinfeld and Jeremy Renner is great, and provides a huge amount of heart to the overall story.
Florence Pugh has a welcome return as Yelena, and her involvement ensures that Hawkeye is as much of a tribute to Black Widow as anything else, and serves some much needed closure for her concluded story arc that has been frustratingly absent since the events of Avengers: Endgame.
Elsewhere, the likes of Vera Farmiga, Tony Dalton, and Alaqua Cox make up a strong supporting cast, and sets up an upcoming series for Echo, a deeper cut from the Marvel vaults, but one that I'm intrigued to see develop.
And then of course, there's motherfucking Kingpin. Arguably the most popular character from the Netflix shows, the decision to bring Vincent Donofrio back as Wilson Fisk is a smart one. His presence in the MCU is incredibly exciting to me, and Donofrio does and excellent job once again, at filling the boots of one of Marvel's most intimidating villains. Welcome back sir.
There are plenty of exciting action set pieces sprinkled throughout (a car chase involving various trick arrows is a particular highlight) and the decision to keep Hawkeye firmly street level in its execution is a wise one. It allows New York City to feel like a character in it's own right, and the Christmas setting adds to that. It does feel like a proper holiday watch at times, and this is probably why the show feels so goofy on more than one occasion. I know that the MCU likes to keep the mood light for the most part, and is often found guilty of undercutting serious or epic moments with jokes. Hawkeye occasionally goes overboard with these moments, especially in the finale. It's not enough to derail what is an incredibly entertaining series, but it's a little frustrating.
Overall though, Hawkeye is another decent and fleshed out mini series in this sprawling franchise. The extra runtime of a season has ensured that all of the MCU shows this year have been high quality and worth watching. I just hope it's not too long until we get a Kate Bishop/Yelena reunion!
Most of Barton's specific plot beats revolve around his family, and his loss of hearing. The human elements ensure that he remains a relatable, street level character. The "Hawkeye" that this series is really about of course is MCU newcomer Kate Bishop, a fan favourite comic character who is portrayed wonderfully by Hailee Steinfeld. The series is essentially her origin story, and I for one can't wait to see her in future projects. The chemistry between Steinfeld and Jeremy Renner is great, and provides a huge amount of heart to the overall story.
Florence Pugh has a welcome return as Yelena, and her involvement ensures that Hawkeye is as much of a tribute to Black Widow as anything else, and serves some much needed closure for her concluded story arc that has been frustratingly absent since the events of Avengers: Endgame.
Elsewhere, the likes of Vera Farmiga, Tony Dalton, and Alaqua Cox make up a strong supporting cast, and sets up an upcoming series for Echo, a deeper cut from the Marvel vaults, but one that I'm intrigued to see develop.
And then of course, there's motherfucking Kingpin. Arguably the most popular character from the Netflix shows, the decision to bring Vincent Donofrio back as Wilson Fisk is a smart one. His presence in the MCU is incredibly exciting to me, and Donofrio does and excellent job once again, at filling the boots of one of Marvel's most intimidating villains. Welcome back sir.
There are plenty of exciting action set pieces sprinkled throughout (a car chase involving various trick arrows is a particular highlight) and the decision to keep Hawkeye firmly street level in its execution is a wise one. It allows New York City to feel like a character in it's own right, and the Christmas setting adds to that. It does feel like a proper holiday watch at times, and this is probably why the show feels so goofy on more than one occasion. I know that the MCU likes to keep the mood light for the most part, and is often found guilty of undercutting serious or epic moments with jokes. Hawkeye occasionally goes overboard with these moments, especially in the finale. It's not enough to derail what is an incredibly entertaining series, but it's a little frustrating.
Overall though, Hawkeye is another decent and fleshed out mini series in this sprawling franchise. The extra runtime of a season has ensured that all of the MCU shows this year have been high quality and worth watching. I just hope it's not too long until we get a Kate Bishop/Yelena reunion!
Christina Haynes (148 KP) rated Wonder Woman: Warbringer in Books
Feb 10, 2018
WONDER WOMAN - WARBRINGER by LEIGH BARDUGO
Contains spoilers, click to show
Wonder Woman also known as Diana Prince is an Amazon warrior destined to save to world and to later become a member of the Justice League.
But before that, like every story, she had a beginning and Leigh Bardugo gives her a just that.
The beginning of the book and the start of Diana’s story lies her home, Themyscira. Located in the Aegean Sea - Greece. Legend has it that the Amazons were given the island by the Gods after they freed themselves and fought Ares after being enslaved. But that’s just one version. Alike with most stories, there is more than one tale, as most myths and legends are like stories. Like the game we all played at school, Chinese whispers where we whispered something to the person next to us and they did the same till the last person said something like “I eat orange peel and make shoes out of it” when you actually said “I’m hungry and I want a cup of tea”
But back to the book, Princess Diana doesn’t feel she is an Amazon truly. Yes, she was born on the island (although she was actually made out of clay and blessed by the Gods to come to life) and is immortal like the other Amazons. She did not fight and die heroically in a battle like every other Amazon warrior did including her mother Queen Hippolyta.
Because of this Diana is teased daily by Amazon warrior Tek who is basically one of the strongest Amazon warriors and also the bravest. Diana believes that if she wins the race at the Nemeseian games that the Amazons compete in she will be able to show them she is both brave and strong. This would also impress her mother and obviously Tek and then she might just stop being so mean to Diana.
However whilst she is running in the race she sees a boat sinking and hears a stream, from a girl. Although the Amazons are used to seeing this sort of thing happen, along with plane crashes etc. Something stops Diana enough to turn around, run and jump into the sea below her and save the girl. Alia.
Themyscira, as we all know, is a secret island, a place where only the Gods and Amazons know about. Again we know about it from stories and legends, we don’t know exactly where it is. Say it’s like living in a snow globe, except you can’t see inside it. Basically when the ship started to sink the crew and passengers onboard had no idea what so ever that they were next to this mysterious paradise island.
Diana saves Alia and brings her to shore leaving her in a cave till she can come back and help take her back to land. Diana needs to head back to the race in case someone sees she is missing, and being the Princess she needs to be there by the Queen's side to congratulate the winner seeing as Diana clearly hasn’t won.
Back with her mother, they congratulate the winner and then enjoy the feast laid out in front of them. Not long after her best friend Mauve gets ill - which I might add, no-one ever does! The island also starts to move like there is an earthquake happening - which again does happen, ever!
The Amazons start to evacuate the island and head of to see the Oracle. Diana runs as fast as she can to get to see the Oracle before her mother and Tek get there first and find out that she has saved Alia.
Because the island is a mystery and they have no contact with the outside world, they aren’t allowed to save anyone and interfere with the mortal world. That means they can’t bring anyone to the island or the Amazon could be banished from Themyscira.
Once Diana reaches the Oracle and after she has got through the normal routine of giving something to the Oracle and listening to the riddle instead of answers, she soon learns that Aila is a Warbringer, a descendant of Helen of Troy. Being a Warbringer entails having war in your blood. All wars have been caused by a Warbringer and Alia is the next one.
“When a Warbringer is born, destruction is inevitable. One has been the catalyst for every great conflict in the World of Man. With the coming of the new moon, Alia’s powers will reach their apex, and war will come. Unless she dies before then.” - Oracle to Diana pg 43.
Diana then asks the Oracle three questions;
1. How do I save Themyscira?
2. How do I save Alia’s life?
3. How do I save everyone
To which the Oracle's answers;
1. Do nothing
2. You must not
3. “The Warbringer must reach the spring at Therapne before the sun sets on the first day of Hekatombaion. Where Helen rests, the Warbringer may be purified, purged of the taint of death that has stained her line from its beginning. There may her power be leashed and never passed to another.”
So from then Diana and Alia go in search for the spring, it takes a lot of convincing Alia but once convinced they begin their journey. Although it’s not that straightforward. They do encounter some enemies, friends and new places after all. This is where the wild journey that Leigh Bardugo creates.
You much like our hero Wonder Woman experience Diana Prince in a new world, still staying the same person only so much cooler than before. She soon learns that she has always had what it takes to be an Amazon and that man is not quite what her mother and the other Amazons taught her, not all are bad and wish for war. Some are exactly like Diana and soon become great friends and allies to her.
The first book in a series of four called DC Icons by Leigh Bardugo, Marie Lu, Sarah J Maas, and Matt de la Pena. This series is definitely going to be amazing.
⭐⭐⭐⭐⭐
Marie Lu: Batman - Nightwalker (Jan 18)
Sarah J Maas: Catwoman - Soulstealer (2018)
Matt de la Pena: Superman - ? (2019)
Love, Christina ?
But before that, like every story, she had a beginning and Leigh Bardugo gives her a just that.
The beginning of the book and the start of Diana’s story lies her home, Themyscira. Located in the Aegean Sea - Greece. Legend has it that the Amazons were given the island by the Gods after they freed themselves and fought Ares after being enslaved. But that’s just one version. Alike with most stories, there is more than one tale, as most myths and legends are like stories. Like the game we all played at school, Chinese whispers where we whispered something to the person next to us and they did the same till the last person said something like “I eat orange peel and make shoes out of it” when you actually said “I’m hungry and I want a cup of tea”
But back to the book, Princess Diana doesn’t feel she is an Amazon truly. Yes, she was born on the island (although she was actually made out of clay and blessed by the Gods to come to life) and is immortal like the other Amazons. She did not fight and die heroically in a battle like every other Amazon warrior did including her mother Queen Hippolyta.
Because of this Diana is teased daily by Amazon warrior Tek who is basically one of the strongest Amazon warriors and also the bravest. Diana believes that if she wins the race at the Nemeseian games that the Amazons compete in she will be able to show them she is both brave and strong. This would also impress her mother and obviously Tek and then she might just stop being so mean to Diana.
However whilst she is running in the race she sees a boat sinking and hears a stream, from a girl. Although the Amazons are used to seeing this sort of thing happen, along with plane crashes etc. Something stops Diana enough to turn around, run and jump into the sea below her and save the girl. Alia.
Themyscira, as we all know, is a secret island, a place where only the Gods and Amazons know about. Again we know about it from stories and legends, we don’t know exactly where it is. Say it’s like living in a snow globe, except you can’t see inside it. Basically when the ship started to sink the crew and passengers onboard had no idea what so ever that they were next to this mysterious paradise island.
Diana saves Alia and brings her to shore leaving her in a cave till she can come back and help take her back to land. Diana needs to head back to the race in case someone sees she is missing, and being the Princess she needs to be there by the Queen's side to congratulate the winner seeing as Diana clearly hasn’t won.
Back with her mother, they congratulate the winner and then enjoy the feast laid out in front of them. Not long after her best friend Mauve gets ill - which I might add, no-one ever does! The island also starts to move like there is an earthquake happening - which again does happen, ever!
The Amazons start to evacuate the island and head of to see the Oracle. Diana runs as fast as she can to get to see the Oracle before her mother and Tek get there first and find out that she has saved Alia.
Because the island is a mystery and they have no contact with the outside world, they aren’t allowed to save anyone and interfere with the mortal world. That means they can’t bring anyone to the island or the Amazon could be banished from Themyscira.
Once Diana reaches the Oracle and after she has got through the normal routine of giving something to the Oracle and listening to the riddle instead of answers, she soon learns that Aila is a Warbringer, a descendant of Helen of Troy. Being a Warbringer entails having war in your blood. All wars have been caused by a Warbringer and Alia is the next one.
“When a Warbringer is born, destruction is inevitable. One has been the catalyst for every great conflict in the World of Man. With the coming of the new moon, Alia’s powers will reach their apex, and war will come. Unless she dies before then.” - Oracle to Diana pg 43.
Diana then asks the Oracle three questions;
1. How do I save Themyscira?
2. How do I save Alia’s life?
3. How do I save everyone
To which the Oracle's answers;
1. Do nothing
2. You must not
3. “The Warbringer must reach the spring at Therapne before the sun sets on the first day of Hekatombaion. Where Helen rests, the Warbringer may be purified, purged of the taint of death that has stained her line from its beginning. There may her power be leashed and never passed to another.”
So from then Diana and Alia go in search for the spring, it takes a lot of convincing Alia but once convinced they begin their journey. Although it’s not that straightforward. They do encounter some enemies, friends and new places after all. This is where the wild journey that Leigh Bardugo creates.
You much like our hero Wonder Woman experience Diana Prince in a new world, still staying the same person only so much cooler than before. She soon learns that she has always had what it takes to be an Amazon and that man is not quite what her mother and the other Amazons taught her, not all are bad and wish for war. Some are exactly like Diana and soon become great friends and allies to her.
The first book in a series of four called DC Icons by Leigh Bardugo, Marie Lu, Sarah J Maas, and Matt de la Pena. This series is definitely going to be amazing.
⭐⭐⭐⭐⭐
Marie Lu: Batman - Nightwalker (Jan 18)
Sarah J Maas: Catwoman - Soulstealer (2018)
Matt de la Pena: Superman - ? (2019)
Love, Christina ?
Gareth von Kallenbach (971 KP) rated Vampires Suck (2010) in Movies
Aug 8, 2019
Vampires suck – but does the movie? We open on the San Salvatore Festival with the angsty Becca watching her beau, Edward Sullen, disrobe and expose his sparkly secrets- he’s a vampire! Cue the “True Blood- 40oz” toting, Mono-fang vampire to take Edward out….wait, we have to get the rest of the story! What follows is a parody of the first two movies of the Twilight Saga. Most of the characters analogous to the spoof’s target are introduced in the first 30 minutes; few of them are actually seen again throughout the movie.
Becca (newcomer Jenn Proske) is forced to move to Sporks, Washington, with her deadbeat father and town sheriff, Frank Crane (Diedrich Bader of The Drew Carey Show). Frank’s best friend is the rough-and-tumble paraplegic Native American, Bobby. His contribution to the plot is his hunky teenage son, Jacob White (Chris Riggi of Gossip Girl). The town of Sporks seems to have vampires on the brain and its population is only growing smaller.
Our heroine is introduced to Edward Sullen (Matt Lanter of Disaster Movie) and what follows is the “classic” story of girl-meets-vampire, girl-loses-vampire, girl-gets-threatened-by-vampire-nemesis, etc. Writers/Directors Jason Friedberg and Aaron Seltzer use their formulaic approach to spoof movies by making the plot a cliff-notes version of the Stephanie Meyer’s original material, with ample jokes thrown in-in an attempt to beef up their rendition.
In fact, there are so many visual jokes in the movie that it left me wondering what a sight-impaired person might conclude of the movie. “What are all these people laughing at?” I noticed a few of the dialogue driven jokes weren’t even played off by the actors. They seemed to have been missed by everyone, including the editors. Other jokes are pop-culture references that will get stale with time. They’re integrated well, but definitely dated. The movie is redolent with the classic American comedy tradition of slapstick, which occasionally comes off as funny.
The production value left something to be desired as several scenes were obviously one-takes. I counted several instances where Becca’s kiss left Edward’s mouth with a smudge of his own flesh-tone showing through. But hey- at least single takes have continuity, right? The contacts, no doubt purchased in bulk, gave the characters an occasional Marty Feldman goggly-look. The effect is hilarious, although I’m not always sure if it’s intentional.
The cast has its standouts. Jenn Proske’s Becca comes dangerously close (like copyright-violating close) to the performance of Kristen Stewart’s Bella as the fidgety, twitchy, sullen and hormone-y heroine. And Ken Jeong (The Hangover) as Daro, while not appearing on screen much, definitely makes his comedic presence felt.
All in all, “Vampires Suck” didn’t really suck… it kind of chews, like gum. Gum out of the package is fresh, flavorful, but the longer you chew it, the tougher and more stale it becomes. This movie is fresh, funny, and quirky right now, but it won’t stand the test of time like more accomplished parodies.
Becca (newcomer Jenn Proske) is forced to move to Sporks, Washington, with her deadbeat father and town sheriff, Frank Crane (Diedrich Bader of The Drew Carey Show). Frank’s best friend is the rough-and-tumble paraplegic Native American, Bobby. His contribution to the plot is his hunky teenage son, Jacob White (Chris Riggi of Gossip Girl). The town of Sporks seems to have vampires on the brain and its population is only growing smaller.
Our heroine is introduced to Edward Sullen (Matt Lanter of Disaster Movie) and what follows is the “classic” story of girl-meets-vampire, girl-loses-vampire, girl-gets-threatened-by-vampire-nemesis, etc. Writers/Directors Jason Friedberg and Aaron Seltzer use their formulaic approach to spoof movies by making the plot a cliff-notes version of the Stephanie Meyer’s original material, with ample jokes thrown in-in an attempt to beef up their rendition.
In fact, there are so many visual jokes in the movie that it left me wondering what a sight-impaired person might conclude of the movie. “What are all these people laughing at?” I noticed a few of the dialogue driven jokes weren’t even played off by the actors. They seemed to have been missed by everyone, including the editors. Other jokes are pop-culture references that will get stale with time. They’re integrated well, but definitely dated. The movie is redolent with the classic American comedy tradition of slapstick, which occasionally comes off as funny.
The production value left something to be desired as several scenes were obviously one-takes. I counted several instances where Becca’s kiss left Edward’s mouth with a smudge of his own flesh-tone showing through. But hey- at least single takes have continuity, right? The contacts, no doubt purchased in bulk, gave the characters an occasional Marty Feldman goggly-look. The effect is hilarious, although I’m not always sure if it’s intentional.
The cast has its standouts. Jenn Proske’s Becca comes dangerously close (like copyright-violating close) to the performance of Kristen Stewart’s Bella as the fidgety, twitchy, sullen and hormone-y heroine. And Ken Jeong (The Hangover) as Daro, while not appearing on screen much, definitely makes his comedic presence felt.
All in all, “Vampires Suck” didn’t really suck… it kind of chews, like gum. Gum out of the package is fresh, flavorful, but the longer you chew it, the tougher and more stale it becomes. This movie is fresh, funny, and quirky right now, but it won’t stand the test of time like more accomplished parodies.
Gareth von Kallenbach (971 KP) rated The Bourne Legacy (2012) in Movies
Aug 7, 2019
With the franchise torch passing from Matt Damon to Jeremy Renner, “The Bourne Legacy” shows that there is still plenty of life in the franchise.
The events of the film take place during and after the events in The Bourne Ultimatum”and portrays the effects and consequences of the actions taken by Jason Bourne in the first three movies. Now that Bourne has made Treadstone/Blackbriar public and began to seek some measure of justice for lives that were destroyed by the program, the government attempts to cover-up their operations and discredit Bourne and his associate CIA deputy director Pamela Landy who is facing a myriad of charges.
Enter Stacy Keach and Ed Norton who ooze a chilling creepiness as shadowy government figures who will stop at nothing to cover up the growing scandal, including wholesale murder.
Bourne and his program were, in the words of one character, “the tip of the iceberg” and as such, just another program the government ran, which had the same goals of Operation Treadstone but used different methods to create and train their agents, becomes the focus of the film.
Alex Cross (Renner), finds himself the lone survivor of a purge that has eliminated all the living members of his program, this includes the very scientists who helped created the enhanced agents. As a creation who needs special medications to function, Cross races to Washington in an attempt to reach Dr. Marta Shearing (Rachel Weisz), who has been a medical contact for Cross for years. Shearing herself is a survivor of numerous dangers and attempted assassinations, thanks to the timely arrival of Cross.
In an attempt to escape the government manhunt lead by Agent Eric Byer (Edward Norton), As these events are unfolding, the actions of Jason Bourne and Pam Landy in the final moments of ‘The Bourne Ultimatum’ are beginning to unravel which forces Cross and Marta to flee to Manila to get Cross a shot at being able to function at his elite level with the need for medications.
With locales that include the wilderness of Alaska, the alleys of Chicago, America’s east coast, and the streets of Manila, “The Bourne Legacy” breathes new life into the franchise. While the first hour of the film moved at a slow pace and lacked much action, the last thirty minutes kicked into high gear and included a fantastic chase and action sequence through Manila.
Renner does not try to be Bourne, and instead plays Cross as a kind but efficient warrior. We are given some insight into his backstory and motivations for entering the program, and Renner goes all out for a demanding and physical role while earning the audience’s sympathy for the plight of Cross.
Director Tony Gilroy (Who also had a hand in the script), knows the franchise well as he had a hand in writing the previous three films and directed one. It is clear that he is steering the franchise to a very likely fifth film, perhaps one where Renner and Damon will cross paths which would be to the fans’ delight. Should that not happen, the series is in great hands with Renner.
The events of the film take place during and after the events in The Bourne Ultimatum”and portrays the effects and consequences of the actions taken by Jason Bourne in the first three movies. Now that Bourne has made Treadstone/Blackbriar public and began to seek some measure of justice for lives that were destroyed by the program, the government attempts to cover-up their operations and discredit Bourne and his associate CIA deputy director Pamela Landy who is facing a myriad of charges.
Enter Stacy Keach and Ed Norton who ooze a chilling creepiness as shadowy government figures who will stop at nothing to cover up the growing scandal, including wholesale murder.
Bourne and his program were, in the words of one character, “the tip of the iceberg” and as such, just another program the government ran, which had the same goals of Operation Treadstone but used different methods to create and train their agents, becomes the focus of the film.
Alex Cross (Renner), finds himself the lone survivor of a purge that has eliminated all the living members of his program, this includes the very scientists who helped created the enhanced agents. As a creation who needs special medications to function, Cross races to Washington in an attempt to reach Dr. Marta Shearing (Rachel Weisz), who has been a medical contact for Cross for years. Shearing herself is a survivor of numerous dangers and attempted assassinations, thanks to the timely arrival of Cross.
In an attempt to escape the government manhunt lead by Agent Eric Byer (Edward Norton), As these events are unfolding, the actions of Jason Bourne and Pam Landy in the final moments of ‘The Bourne Ultimatum’ are beginning to unravel which forces Cross and Marta to flee to Manila to get Cross a shot at being able to function at his elite level with the need for medications.
With locales that include the wilderness of Alaska, the alleys of Chicago, America’s east coast, and the streets of Manila, “The Bourne Legacy” breathes new life into the franchise. While the first hour of the film moved at a slow pace and lacked much action, the last thirty minutes kicked into high gear and included a fantastic chase and action sequence through Manila.
Renner does not try to be Bourne, and instead plays Cross as a kind but efficient warrior. We are given some insight into his backstory and motivations for entering the program, and Renner goes all out for a demanding and physical role while earning the audience’s sympathy for the plight of Cross.
Director Tony Gilroy (Who also had a hand in the script), knows the franchise well as he had a hand in writing the previous three films and directed one. It is clear that he is steering the franchise to a very likely fifth film, perhaps one where Renner and Damon will cross paths which would be to the fans’ delight. Should that not happen, the series is in great hands with Renner.
Gareth von Kallenbach (971 KP) rated The Adjustment Bureau (2011) in Movies
Aug 7, 2019
The Adjustment Bureau is based on (or it may be more accurate to say, inspired by) the Philip K. Dick short story “Adjustment Team”, and stars Matt Damon as David Norris, a New York politician running for the U.S. Senate and Emily Blunt as Elise Sellas, a professional ballerina.
When David and Elise first meet in the men’s restroom and he doesn’t question her gender I knew this wasn’t going to be the typical boy meets girl story. Just to clarify, I’m not saying she turns out to be a he, I’m just saying it’s good to check out the engine under the hood. But what should have been a once in a restroom… er, lifetime encounter, becomes a second, then a third and… you get the point. Shortly after their second encounter where David finally gets Elise’s name and number written on a business card he walks in on a strange group of well dressed individuals who were what can only be described as “probing” his friends in a conference room. So David does what any sane person would do after witnessing a group probing, he runs (like you wouldn’t? ). After running down a few hallways, he’s captured. Let’s be honest, running down hallways isn’t Oscar material, so I was glad it was short-lived. David learns that these well-dressed individuals work for The Adjustment Bureau.
This secret organization works behind the scenes to ensure the course of destiny, as written by “The Chairman”, goes as planned and they tell him that men’s room ballerinas are not part of the plan for him. At this point I wanted to yell “Screw them, go for the ballerina! They’re bendy!” but before I could, Agent Richardson (played by John Slattery) informs David that if he doesn’t follow the plan they have for him then they will… well, let’s just say they will probe him like nobody’s business. Then before they leave they take the business card with Elise’s name and number on it and before you can say “rooster-block” they throw him to the floor like Chevy Chase impersonating President Ford and disappear.
In time David and Elise are reunited by chance and with some information given to him by his disgruntled Adjustment Bureau ex-caseworker Agent Harry (played by Anthony Mackie), David works hard to overcome the obstacles placed before them by the Adjustment Bureau. But when Agent Thompson (played by Terence Stamp) joins the fray, he tells David what will happen to Elise if he doesn’t leave her.
Does love win in the end, does fate win or are they eaten by the alligators in the New York City sewers? I will tell you, that once again, the alligators did not win. The film does an excellent job of balancing its romance and thriller aspects with just enough humor to compliment the first two aspects, making it a very enjoyable movie for an individual, a couple or a group of friends to see. On a side note, when the film was over I left the movie wanting to buy a suit and I really dislike wearing suits.
When David and Elise first meet in the men’s restroom and he doesn’t question her gender I knew this wasn’t going to be the typical boy meets girl story. Just to clarify, I’m not saying she turns out to be a he, I’m just saying it’s good to check out the engine under the hood. But what should have been a once in a restroom… er, lifetime encounter, becomes a second, then a third and… you get the point. Shortly after their second encounter where David finally gets Elise’s name and number written on a business card he walks in on a strange group of well dressed individuals who were what can only be described as “probing” his friends in a conference room. So David does what any sane person would do after witnessing a group probing, he runs (like you wouldn’t? ). After running down a few hallways, he’s captured. Let’s be honest, running down hallways isn’t Oscar material, so I was glad it was short-lived. David learns that these well-dressed individuals work for The Adjustment Bureau.
This secret organization works behind the scenes to ensure the course of destiny, as written by “The Chairman”, goes as planned and they tell him that men’s room ballerinas are not part of the plan for him. At this point I wanted to yell “Screw them, go for the ballerina! They’re bendy!” but before I could, Agent Richardson (played by John Slattery) informs David that if he doesn’t follow the plan they have for him then they will… well, let’s just say they will probe him like nobody’s business. Then before they leave they take the business card with Elise’s name and number on it and before you can say “rooster-block” they throw him to the floor like Chevy Chase impersonating President Ford and disappear.
In time David and Elise are reunited by chance and with some information given to him by his disgruntled Adjustment Bureau ex-caseworker Agent Harry (played by Anthony Mackie), David works hard to overcome the obstacles placed before them by the Adjustment Bureau. But when Agent Thompson (played by Terence Stamp) joins the fray, he tells David what will happen to Elise if he doesn’t leave her.
Does love win in the end, does fate win or are they eaten by the alligators in the New York City sewers? I will tell you, that once again, the alligators did not win. The film does an excellent job of balancing its romance and thriller aspects with just enough humor to compliment the first two aspects, making it a very enjoyable movie for an individual, a couple or a group of friends to see. On a side note, when the film was over I left the movie wanting to buy a suit and I really dislike wearing suits.
Erika (17788 KP) rated Stillwater (2021) in Movies
Aug 3, 2021
The film Stillwater is based upon and exploits the Amanda Knox story. Swapping Italy for the town of Marseille, France, Allison (Abigail Breslin), an American university student is convicted of killing her girlfriend, Lina. Bill (Matt Damon), Allison’s estranged father, visits her regularly in prison, and is convinced of her innocence.
The majority of the film focuses on Bill’s quest to prove her innocence. Bill is a roughneck (oil driller), good ol’ boy Okie from Stillwater. After delivering a letter to Allison’s lawyer with new information, he takes it upon himself to find the main suspect, Akim, with the help of Virginie (Camille Cottin). This is completely against Allison’s wishes, because she sees him, and herself, as a ‘fuck-up’.
Bill develops a relationship with Virginie, and her daughter, Maya (Lilou Siauvaud). After Allison refuses to see him anymore, Bill stays with Virginie, as a friend, helps with Maya, and goes native. Honestly, the subplot of this relationship with Virginie that progresses to a romantic relationship, and the fatherly relationship to Maya, slow the film down to a snail’s pace. The story finally picks up again, when Bill takes Maya to a football game, and he captures Akim. Bill collects DNA from Akim, hands it to an ex-cop, then finally learns the truth of what happened with the murder of Lina. This situation ruins his relationship with his new French family, and he goes back to Stillwater, quickly followed by Allison, after she is released after the DNA matches what was left at the crime scene.
I was originally pretty excited to see the film, but then I read a Vanity Fair interview with the director, Tom McCarthy. McCarthy mentioned that he wanted to be in the shoes of Amanda Knox, or something like that. Knox, who was found not guilty for the murder of Meredith Kercher, was probably very available. Knox came out after the article was published and voiced that her story was being exploited. Reading her responses made me have really icky feelings, and I almost didn’t go see it, because they’re profiting off her story. To be fair, Knox is profiting off her own story as well, but it still isn’t right. This situation hurt the film, in my opinion, and I think the box office numbers in the US reflect that as well. I would have rated this film higher, and enjoyed it more, had I not seen the press surrounding it. I don’t know whether that’s a good or bad thing.
Damon did well in his portrayal of an Okie roughneck, and you could tell he really did study to nail the role. Breslin was neither here nor there, and I didn’t necessarily sympathize with her at all. So, I didn’t really care in the end if she got out of prison or not.
This film clocks in at 2 hours and 20 minutes, and it felt like a 2 hour and 20-minute film. I didn’t like the subplot, at all. It made the movie so bloated, and I kind of just wanted it to end. I don’t think this film is going to do well outside of the US, at all.
The majority of the film focuses on Bill’s quest to prove her innocence. Bill is a roughneck (oil driller), good ol’ boy Okie from Stillwater. After delivering a letter to Allison’s lawyer with new information, he takes it upon himself to find the main suspect, Akim, with the help of Virginie (Camille Cottin). This is completely against Allison’s wishes, because she sees him, and herself, as a ‘fuck-up’.
Bill develops a relationship with Virginie, and her daughter, Maya (Lilou Siauvaud). After Allison refuses to see him anymore, Bill stays with Virginie, as a friend, helps with Maya, and goes native. Honestly, the subplot of this relationship with Virginie that progresses to a romantic relationship, and the fatherly relationship to Maya, slow the film down to a snail’s pace. The story finally picks up again, when Bill takes Maya to a football game, and he captures Akim. Bill collects DNA from Akim, hands it to an ex-cop, then finally learns the truth of what happened with the murder of Lina. This situation ruins his relationship with his new French family, and he goes back to Stillwater, quickly followed by Allison, after she is released after the DNA matches what was left at the crime scene.
I was originally pretty excited to see the film, but then I read a Vanity Fair interview with the director, Tom McCarthy. McCarthy mentioned that he wanted to be in the shoes of Amanda Knox, or something like that. Knox, who was found not guilty for the murder of Meredith Kercher, was probably very available. Knox came out after the article was published and voiced that her story was being exploited. Reading her responses made me have really icky feelings, and I almost didn’t go see it, because they’re profiting off her story. To be fair, Knox is profiting off her own story as well, but it still isn’t right. This situation hurt the film, in my opinion, and I think the box office numbers in the US reflect that as well. I would have rated this film higher, and enjoyed it more, had I not seen the press surrounding it. I don’t know whether that’s a good or bad thing.
Damon did well in his portrayal of an Okie roughneck, and you could tell he really did study to nail the role. Breslin was neither here nor there, and I didn’t necessarily sympathize with her at all. So, I didn’t really care in the end if she got out of prison or not.
This film clocks in at 2 hours and 20 minutes, and it felt like a 2 hour and 20-minute film. I didn’t like the subplot, at all. It made the movie so bloated, and I kind of just wanted it to end. I don’t think this film is going to do well outside of the US, at all.
RəX Regent (349 KP) rated Team America: World Police (2004) in Movies
Feb 19, 2019
AMERICA! F**K YEAH!
The theme’s lyrics sum up this movie as well as any could have. Made in the midst of the War On Terror in 2004, a satire was needed and who better to provide one than the satirical genius’ Trey Parker and Matt Stone, best known for South Park. On the surface, this looks like a straight forward bawdy adult puppet parody, taking the mickey out of Bruckheimer’s blockbusters, Thunderbirds and the reputation being acquired by the U.S. over the past 30 years but reaching boiling point over the last decade, certainly in a post 9/11 world.But that’s just the tip of the iceberg.
This is looking into every major aspect of the above, such as chauvinism, the political interference and undue, and sometimes dangerous influence of celebrities, summed up here with the Film Actor’s Guild (or F.A.G.) with a host of major film stars ripped off, notably upsetting Sean Penn.
The infamous puppet sex scene, which is nothing more than a poke, pardon the pun, at the puppetry employed in the film.But there’s so much more such as the excellent selection of bespoke songs, such as “Only A Woman” for the sex scene, “End Of An Act” as our hero leaves the group to wallow in self-pity to the song with features verse after verse nothing more than slagging off Michael Bay’s, Pearl Harbor and Ben Afleck! But for a film with criticises these blockbusters, it understands them too well to be truly nasty about them.
The entire film IS a well made Bruckheimer film, even recruiting one of his regular composers, Harry Gregson-Williams, to be in at the last-minute, to compose a great score, but why do this if they hated it so much? They don’t; they love these films and the affection for the genre is clear, making their digs enjoyable and not hurtful… There’s even a contradiction with the political tract as one hand this would seem to be an anti-American tome where Team America blow up every city and landmark imaginable in order to protect the world from the destruction of the Terrorists… Get it?
On the other, the song entitled “Freedom Isn’t Free” would seem to suggest that we should all do our part, even though this number ends with the line, “Freedom cost a buck o’five…” But then after all the political and social satire, and the spoofing of Hollywood’s gung-ho films, it’s just a fun film.When the terrorist’s come from Derka Derkastan, the tone is clear. This is like a pair of boys playing “War On Terror” with a collection of action figures.
They’re clearly laughing hysterically as they write, produce and direct this film like two teenagers, as they create the highly insensitive language of the terrorists, use elements from films such as Star Wars and James Bond, certainly as for Kim Jong-il, is nobody safe, well not after offending the North Korean leader, but in all fairness, this is really just Eric Cartman from South Park.But in the end, this is the perfect satire, with a blend of real world political and social commentary, great spoofing but when all’s said and done, this has a great sense if humour, though at times, somewhat bawdy. This is brilliant and one of, if not the best comedy of the past decade, and one of the greatest satires of all time. And, no, I don’t believe that I’m over stating that…
This is looking into every major aspect of the above, such as chauvinism, the political interference and undue, and sometimes dangerous influence of celebrities, summed up here with the Film Actor’s Guild (or F.A.G.) with a host of major film stars ripped off, notably upsetting Sean Penn.
The infamous puppet sex scene, which is nothing more than a poke, pardon the pun, at the puppetry employed in the film.But there’s so much more such as the excellent selection of bespoke songs, such as “Only A Woman” for the sex scene, “End Of An Act” as our hero leaves the group to wallow in self-pity to the song with features verse after verse nothing more than slagging off Michael Bay’s, Pearl Harbor and Ben Afleck! But for a film with criticises these blockbusters, it understands them too well to be truly nasty about them.
The entire film IS a well made Bruckheimer film, even recruiting one of his regular composers, Harry Gregson-Williams, to be in at the last-minute, to compose a great score, but why do this if they hated it so much? They don’t; they love these films and the affection for the genre is clear, making their digs enjoyable and not hurtful… There’s even a contradiction with the political tract as one hand this would seem to be an anti-American tome where Team America blow up every city and landmark imaginable in order to protect the world from the destruction of the Terrorists… Get it?
On the other, the song entitled “Freedom Isn’t Free” would seem to suggest that we should all do our part, even though this number ends with the line, “Freedom cost a buck o’five…” But then after all the political and social satire, and the spoofing of Hollywood’s gung-ho films, it’s just a fun film.When the terrorist’s come from Derka Derkastan, the tone is clear. This is like a pair of boys playing “War On Terror” with a collection of action figures.
They’re clearly laughing hysterically as they write, produce and direct this film like two teenagers, as they create the highly insensitive language of the terrorists, use elements from films such as Star Wars and James Bond, certainly as for Kim Jong-il, is nobody safe, well not after offending the North Korean leader, but in all fairness, this is really just Eric Cartman from South Park.But in the end, this is the perfect satire, with a blend of real world political and social commentary, great spoofing but when all’s said and done, this has a great sense if humour, though at times, somewhat bawdy. This is brilliant and one of, if not the best comedy of the past decade, and one of the greatest satires of all time. And, no, I don’t believe that I’m over stating that…
Movie Metropolis (309 KP) rated War for the Planet of the Apes (2017) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
The Great Ape-scape
Six years ago, I didn’t think I’d be telling you that a remake of the classic Planet of the Apes and its sequel would go on to be one of the finest double acts since The Two Ronnies, but that’s exactly what has happened.
Now, the final part of this incredible trilogy, War for the Planet of the Apes is out and ready to conclude an incredible half decade of cinema. But is it as good as its predecessors?
Caesar (Andy Serkis) and his band of loyal apes are forced into a deadly war with an army of humans led by a ruthless colonel (Woody Harrelson). After Caesar’s band of apes suffers unimaginable losses, he wrestles with his darker instincts and begins his own quest of revenge. As the journey finally brings the two rivals face-to-face, Caesar and the colonel are pitted against each other in an epic battle that will determine the fate of both of their species.
I have to say, I was a little concerned the finished product would be as tongue twisting as its frankly ridiculous title (a problem that has blighted the entire series), but it ends up being a stunning and heart-warming finale to a franchise filled to the brim with memorable moments.
The motion capture used on Andy Serkis to create Caesar has to be seen to be believed. If you thought predecessor Dawn was good, you haven’t seen anything yet. His hair moves with subtle believability and his movements are so fluid, it’s easy to forget you’re watching a film and not a documentary.
But this incredible technology isn’t used solely on our main protagonist. Fan favourite orangutan Maurice returns and newcomer “Bad Ape” captured by Steve Zahn provides the flick with a much-needed eccentric, shining a little light in one of the bleakest feature films of the last half decade.
The human characters, naturally don’t fare so well. Woody Harrelson is his usual charismatic self but feels a little caricature like. His colonel just doesn’t feel particularly believable. Likewise, Amiah Miller’s turn as Nova, whom Maurice adopts as his daughter, seems to be merely used as a plot device, though she does partake in some of the sweeter moments.
As with its predecessors, War is a slow burner with the action interweaved into the plot rather than the other way around. In principle it works well, though the pacing towards the middle of this 140-minute behemoth is a little off.
Nevertheless, the action is filmed beautifully. In fact, the whole film is stunning. Beautiful wooded landscapes and open deserts are juxtaposed with the dark concentration camps used in the latter half. One sequence in particular, behind a gorgeously realised waterfall, is one of the best action scenes of the entire year.
Masquerading as a blockbuster, this is a film with a much deeper message about messing with nature. Brutal and emotionally testing, War for the Planet of the Apes is brave in its choices and all the better for it.
Three films in, it would be easy for director Matt Reeves to rest on his laurels and rely on the positive reaction to its predecessors, but thankfully he has climaxed on a high. It’s not perfect, and not an easy watch by any means, but for a threequel, you can’t really get much better.
https://moviemetropolis.net/2017/07/12/war-for-the-planet-of-the-apes-review/
Now, the final part of this incredible trilogy, War for the Planet of the Apes is out and ready to conclude an incredible half decade of cinema. But is it as good as its predecessors?
Caesar (Andy Serkis) and his band of loyal apes are forced into a deadly war with an army of humans led by a ruthless colonel (Woody Harrelson). After Caesar’s band of apes suffers unimaginable losses, he wrestles with his darker instincts and begins his own quest of revenge. As the journey finally brings the two rivals face-to-face, Caesar and the colonel are pitted against each other in an epic battle that will determine the fate of both of their species.
I have to say, I was a little concerned the finished product would be as tongue twisting as its frankly ridiculous title (a problem that has blighted the entire series), but it ends up being a stunning and heart-warming finale to a franchise filled to the brim with memorable moments.
The motion capture used on Andy Serkis to create Caesar has to be seen to be believed. If you thought predecessor Dawn was good, you haven’t seen anything yet. His hair moves with subtle believability and his movements are so fluid, it’s easy to forget you’re watching a film and not a documentary.
But this incredible technology isn’t used solely on our main protagonist. Fan favourite orangutan Maurice returns and newcomer “Bad Ape” captured by Steve Zahn provides the flick with a much-needed eccentric, shining a little light in one of the bleakest feature films of the last half decade.
The human characters, naturally don’t fare so well. Woody Harrelson is his usual charismatic self but feels a little caricature like. His colonel just doesn’t feel particularly believable. Likewise, Amiah Miller’s turn as Nova, whom Maurice adopts as his daughter, seems to be merely used as a plot device, though she does partake in some of the sweeter moments.
As with its predecessors, War is a slow burner with the action interweaved into the plot rather than the other way around. In principle it works well, though the pacing towards the middle of this 140-minute behemoth is a little off.
Nevertheless, the action is filmed beautifully. In fact, the whole film is stunning. Beautiful wooded landscapes and open deserts are juxtaposed with the dark concentration camps used in the latter half. One sequence in particular, behind a gorgeously realised waterfall, is one of the best action scenes of the entire year.
Masquerading as a blockbuster, this is a film with a much deeper message about messing with nature. Brutal and emotionally testing, War for the Planet of the Apes is brave in its choices and all the better for it.
Three films in, it would be easy for director Matt Reeves to rest on his laurels and rely on the positive reaction to its predecessors, but thankfully he has climaxed on a high. It’s not perfect, and not an easy watch by any means, but for a threequel, you can’t really get much better.
https://moviemetropolis.net/2017/07/12/war-for-the-planet-of-the-apes-review/