Search
Search results
Lee KM Pallatina (951 KP) rated Robin Hood: Men in Tights (1993) in Movies
Aug 9, 2019
You have to be a real man to wear tights!
Cary Elwes stars a robin hood in this comical retelling of the legendary hero who after returning to England after fighting in the crusades and then being captured, enslaved only to escape from prison in Jerusalem and seim home to England (what a guy ;) ) to find that the evil Prince John (Richard Lewis) has confiscated his family estate and is following the script and ruining Nottingham. Robin enlists his family's loyal blind servant Blinkin (Mark Blankfield), Will Scarlett O'Hara (Matthew Porretta) and Little John (Eric Allan Kramer) to help rebel. Robin also hopes to woo the beautiful Maid Marian (Amy Yasbeck), but her chastity belt may prove a challenge (and her keeper)
Great jokes, Mel Brooks, hilarious performances, subtle nods and a robin hood who can speak with an England accent.
A classic spoof on the legend who had it coming.
Great jokes, Mel Brooks, hilarious performances, subtle nods and a robin hood who can speak with an England accent.
A classic spoof on the legend who had it coming.
Kristy H (1252 KP) rated Mr. Nobody in Books
Mar 19, 2020
Emma Lewis is neuropsychiatrist, who is surprised when she's asked to work on a case for a newsworthy patient. Dubbed "Mr. Nobody," he's a man found on a British beach, in wet clothes and without any identification. He won't speak and the hospital staff are all drawn to him. But for Emma to take the case, it means returning to a place that she left fourteen years ago in disgrace--a place she's worked to leave behind and erase any signs of herself from.
"Why can't I remember? Why can't I remember my name? The weight of what this means bears down on him with each cold snatched breath he takes. Fear pumping through him, primal and quickening. Oh God. It's all gone. His world shrinks to a pinhead and then dilates so wide, suddenly terrifyingly borderless."
This book started out like gangbusters. Alternating between Emma and Mr. Nobody, whom the hospital staff quickly dubs Matthew, I was drawn in immediately. Who on earth is Matthew, why can't he remember who he is, and what is his deal? But there were a few issues. Emma clearly has a backstory. Yes, something happened to her fourteen years ago. To me, this is the equivalent of "vaguebooking"--you know when someone posts something on Facebook or social media: "Something horrible has happened. Oh woe is me." And then all their friends have to either guess, or say "Oh I'm so sorry," but the poster never actually tells you what happened? I'm sorry, but in books, after a while, dragging this all out is too much. Just freaking tell us what happened to you, Emma, or stop alluding to it!
So Emma and Matthew, of course, surpass patient/doctor boundaries, finding each other fascinating. There are, accordingly, twists in the book. Some, I will hand it to Steadman, are pretty darn good. Much of the book is quite readable and moves at a good pace--Emma's allusions to her past not withstanding. It's certainly intriguing. There are some interesting side characters: a local police officer and his nosy reporter wife; a benevolent nurse, etc. Emma's kind and patient brother.
But then the ending and biggest reveal comes along and eh. I found it a little anticlimactic. After all we've been through together, Emma?! I don't know. I was hoping for more, especially after all the fuss about Something in the Water, which I still haven't read. (I know, I know. It's on my TBR.)
So, in the end, this is an intriguing one. The plot is definitely original, I'll give you that. But throw in a slightly irritating main character and a somewhat disappointing ending and it was a 3.5 star read for me-just barely.
"Why can't I remember? Why can't I remember my name? The weight of what this means bears down on him with each cold snatched breath he takes. Fear pumping through him, primal and quickening. Oh God. It's all gone. His world shrinks to a pinhead and then dilates so wide, suddenly terrifyingly borderless."
This book started out like gangbusters. Alternating between Emma and Mr. Nobody, whom the hospital staff quickly dubs Matthew, I was drawn in immediately. Who on earth is Matthew, why can't he remember who he is, and what is his deal? But there were a few issues. Emma clearly has a backstory. Yes, something happened to her fourteen years ago. To me, this is the equivalent of "vaguebooking"--you know when someone posts something on Facebook or social media: "Something horrible has happened. Oh woe is me." And then all their friends have to either guess, or say "Oh I'm so sorry," but the poster never actually tells you what happened? I'm sorry, but in books, after a while, dragging this all out is too much. Just freaking tell us what happened to you, Emma, or stop alluding to it!
So Emma and Matthew, of course, surpass patient/doctor boundaries, finding each other fascinating. There are, accordingly, twists in the book. Some, I will hand it to Steadman, are pretty darn good. Much of the book is quite readable and moves at a good pace--Emma's allusions to her past not withstanding. It's certainly intriguing. There are some interesting side characters: a local police officer and his nosy reporter wife; a benevolent nurse, etc. Emma's kind and patient brother.
But then the ending and biggest reveal comes along and eh. I found it a little anticlimactic. After all we've been through together, Emma?! I don't know. I was hoping for more, especially after all the fuss about Something in the Water, which I still haven't read. (I know, I know. It's on my TBR.)
So, in the end, this is an intriguing one. The plot is definitely original, I'll give you that. But throw in a slightly irritating main character and a somewhat disappointing ending and it was a 3.5 star read for me-just barely.
Bob Mann (459 KP) rated Me Before You (2016) in Movies
Sep 29, 2021
“You are scored on my heart Clark”
“Me Before You” is a bit of a queer fish of a movie. It never quite decides whether it wants to be a romantic weepy, a drama, or a rom-com and as such ends up rather falling between all three stools.
Emelia Clarke (“Game of Thrones”, “Terminator: Genesys”) plays Lou Clark, an ‘invisible’ girl “with potential” who is trapped – due to unemployment-led poverty – living with her parents in a provincial castle town (a picturesque Pembroke, though notably hardly a Welsh accent in earshot). Her boyfriend Patrick (“Harry Potter”’s Matthew Lewis) is a running nut that doesn’t play to her romantic needs in any way. Circumstance leads her into the job of a carer for a quadriplegic, Will Traynor (Sam Claflin, from “The Hunger Games” sequels) who also happens to be the son of the local millionaire couple (played by Charles Dance and Janet McTeer). They own the castle, a large mansion and most of the surrounding countryside too.
Will – previously a sports jock – is paralyzed from the neck down after an accident and is a frustrated and suicidal mind in a useless body. Can the quirky and vivacious Lou bring him out of his morbid shell and find him a life worth living again?
From this outline, you might think the story almost writes itself, and for most of the film it does. But the writers have a number of twists and turns in store which – depending on your sentiments – might entertain or appall.
As her first leading actress role in a non-action feature it’s a bit difficult to sum up Emilia Clarke’s performance. At face value it could be described as an advanced case of over-acting, with an extensive array of kooky looks and gurning facial expressions. (Those eyebrows! At some point we’re going to have to see her acting opposite Cara DeLevingne in a “Batman v Superman” eye-brow-off). On the other hand, she plays the part with such vivacity and charm – and notably in a manner so in keeping with the character she portrays – that it is hard not to be enchanted by her: I certainly was.
Claflin plays the brooding and resentful Traynor well and Matthew Lewis shows he is growing into a really professional jobbing actor as he enters his mid-20’s.
Also radiant (she always is… sorry to break it to the wife like this… but I am basically in love with her!!) is the ever-gorgeous Jenna Coleman (“Dr Who”, “Victoria”) in what is to date a rare outing for her onto the big screen (she previously has only had a small role in the first “Captain America” film: she really needs a breakout movie like Carey Mulligan’s “An Education”). Coleman and Clarke make a very credible pair of sisters, with the “bed” discussion scene being very touching.
Elsewhere a number of other well-known faces crop up including Brendan Coyle (“Downton Abbey”) as Lou’s father and Joanna Lumley as a wedding guest with a handy line in references.
The soundtrack by Craig (“Love Actually”) Armstrong is top notch with pleasing songs from Ed Sheeran, Imagine Dragons, Cloves and We The Kings.
The production quality is as professional as you would expect from a British-made movie, although the Mallorca and Paris locations are not particularly well exploited, since for a large chunk of these scenes I was convinced they hadn’t left Pinewood!
So, a bit of a mixed bag, but enjoyable nonetheless. A guilty pleasure. If you like a romantic piece of escapism this is one for a wet Sunday afternoon, provided you have a box of tissues handy.
Emelia Clarke (“Game of Thrones”, “Terminator: Genesys”) plays Lou Clark, an ‘invisible’ girl “with potential” who is trapped – due to unemployment-led poverty – living with her parents in a provincial castle town (a picturesque Pembroke, though notably hardly a Welsh accent in earshot). Her boyfriend Patrick (“Harry Potter”’s Matthew Lewis) is a running nut that doesn’t play to her romantic needs in any way. Circumstance leads her into the job of a carer for a quadriplegic, Will Traynor (Sam Claflin, from “The Hunger Games” sequels) who also happens to be the son of the local millionaire couple (played by Charles Dance and Janet McTeer). They own the castle, a large mansion and most of the surrounding countryside too.
Will – previously a sports jock – is paralyzed from the neck down after an accident and is a frustrated and suicidal mind in a useless body. Can the quirky and vivacious Lou bring him out of his morbid shell and find him a life worth living again?
From this outline, you might think the story almost writes itself, and for most of the film it does. But the writers have a number of twists and turns in store which – depending on your sentiments – might entertain or appall.
As her first leading actress role in a non-action feature it’s a bit difficult to sum up Emilia Clarke’s performance. At face value it could be described as an advanced case of over-acting, with an extensive array of kooky looks and gurning facial expressions. (Those eyebrows! At some point we’re going to have to see her acting opposite Cara DeLevingne in a “Batman v Superman” eye-brow-off). On the other hand, she plays the part with such vivacity and charm – and notably in a manner so in keeping with the character she portrays – that it is hard not to be enchanted by her: I certainly was.
Claflin plays the brooding and resentful Traynor well and Matthew Lewis shows he is growing into a really professional jobbing actor as he enters his mid-20’s.
Also radiant (she always is… sorry to break it to the wife like this… but I am basically in love with her!!) is the ever-gorgeous Jenna Coleman (“Dr Who”, “Victoria”) in what is to date a rare outing for her onto the big screen (she previously has only had a small role in the first “Captain America” film: she really needs a breakout movie like Carey Mulligan’s “An Education”). Coleman and Clarke make a very credible pair of sisters, with the “bed” discussion scene being very touching.
Elsewhere a number of other well-known faces crop up including Brendan Coyle (“Downton Abbey”) as Lou’s father and Joanna Lumley as a wedding guest with a handy line in references.
The soundtrack by Craig (“Love Actually”) Armstrong is top notch with pleasing songs from Ed Sheeran, Imagine Dragons, Cloves and We The Kings.
The production quality is as professional as you would expect from a British-made movie, although the Mallorca and Paris locations are not particularly well exploited, since for a large chunk of these scenes I was convinced they hadn’t left Pinewood!
So, a bit of a mixed bag, but enjoyable nonetheless. A guilty pleasure. If you like a romantic piece of escapism this is one for a wet Sunday afternoon, provided you have a box of tissues handy.
Gareth von Kallenbach (962 KP) rated Live By Night (2017) in Movies
Jul 12, 2019
I’m a sucker for a Prohibition-set yarn. It’s a fascinating period in history and typically yields excellent filmmaking with gritty, no-nonsense performances, gorgeous production design and hard-boiled action. It was De Palma’s The Untouchables that hooked me. Some would call it a guilty pleasure; and sure, Morricone’s score is a little over-the-top, De Niro is more caricature than character actor as Al Capone and I’m not going to argue that Connery’s Oscar was a “sympathy vote”, but it’s got everything I mentioned above in spades and for me it’ll always be the high benchmark of the Prohibition era gangster epic. Ben Affleck’s fourth turn as director has done nothing to change my position on that.
Live by Night is an uninspired mess, from voice-over laden start to disastrously predictable end, bringing nothing new or exciting to the table. Beat for beat, its weak script moves from one sigh-inducing cliché to another, reaching clumsily for moments of high emotion that ring hollow and false. If anyone needs any further proof that Matt Damon did all the heavy lifting on the script for Good Will Hunting, they need look no further. It feels wrong to come down so hard on Affleck after his back-to-back successes as a director, but this is more akin to the first work of a blundering novice, and also certainly not what we’ve come to expect of a Dennis Lehane adaptation (see Mystic River, Shutter Island and Affleck’s own incredible directorial debut, Gone Baby Gone). His decision to wear so many hats on this project, producing, directing, sole screenwriter and lead actor, has to be the reason for this stumble. The script desperately needed another set of eyes and the part of Joe Coughlin was clearly written for someone younger and more capable of performing with the subtlety needed to play someone who has to traverse the number of moral dilemmas he’s faced with. Hopefully, this inevitable failure will be what convinces Affleck that his place should be behind the camera directing other people’s scripts and guiding other people’s performances.
Speaking of the performances, there is a massive curve in this collection of acting that swings wildly from the cartoonish to the nuanced. To start with, we have Matthew Maher as a KKK member out for his cut and Robert Glenister as an Irish mob boss, both of whom are supposed to be playing dangerous and threatening but can’t do any better than laughable and two-dimensional. Then there’s Chris Messina and Affleck himself as the hoods on the rise, their chemistry is ill-advised at best as they both seem to think they’re in a buddy comedy as opposed to a serious piece of gangster melodrama A favorite of mine, Brendan Gleeson, sadly leaves the screen within the first twenty minutes and that left me with only the inimitable Chris Cooper to look forward to. The subplot involving him and Elle Fanning, as his born-again daughter speaking out against Coughlin’s sinful ways is not without problems of its own, but at least they sell it. That should be no surprise on Cooper’s part, but now between this and The Neon Demon last summer; Fanning is firmly on my radar as one to watch. My hope was that we were going to get some tremendous battle of wills between her and Affleck’s character akin to Paul Dano and Daniel Day-Lewis’ conflict in There Will Be Blood, but that was definitely asking too much. Fanning’s role, like Gleeson’s, is unfortunately cut short just as it gets good.
I guess The Untouchables is starting to sound less like a guilty pleasure and more like a masterpiece when compared to this regrettable misfire.
Live by Night is an uninspired mess, from voice-over laden start to disastrously predictable end, bringing nothing new or exciting to the table. Beat for beat, its weak script moves from one sigh-inducing cliché to another, reaching clumsily for moments of high emotion that ring hollow and false. If anyone needs any further proof that Matt Damon did all the heavy lifting on the script for Good Will Hunting, they need look no further. It feels wrong to come down so hard on Affleck after his back-to-back successes as a director, but this is more akin to the first work of a blundering novice, and also certainly not what we’ve come to expect of a Dennis Lehane adaptation (see Mystic River, Shutter Island and Affleck’s own incredible directorial debut, Gone Baby Gone). His decision to wear so many hats on this project, producing, directing, sole screenwriter and lead actor, has to be the reason for this stumble. The script desperately needed another set of eyes and the part of Joe Coughlin was clearly written for someone younger and more capable of performing with the subtlety needed to play someone who has to traverse the number of moral dilemmas he’s faced with. Hopefully, this inevitable failure will be what convinces Affleck that his place should be behind the camera directing other people’s scripts and guiding other people’s performances.
Speaking of the performances, there is a massive curve in this collection of acting that swings wildly from the cartoonish to the nuanced. To start with, we have Matthew Maher as a KKK member out for his cut and Robert Glenister as an Irish mob boss, both of whom are supposed to be playing dangerous and threatening but can’t do any better than laughable and two-dimensional. Then there’s Chris Messina and Affleck himself as the hoods on the rise, their chemistry is ill-advised at best as they both seem to think they’re in a buddy comedy as opposed to a serious piece of gangster melodrama A favorite of mine, Brendan Gleeson, sadly leaves the screen within the first twenty minutes and that left me with only the inimitable Chris Cooper to look forward to. The subplot involving him and Elle Fanning, as his born-again daughter speaking out against Coughlin’s sinful ways is not without problems of its own, but at least they sell it. That should be no surprise on Cooper’s part, but now between this and The Neon Demon last summer; Fanning is firmly on my radar as one to watch. My hope was that we were going to get some tremendous battle of wills between her and Affleck’s character akin to Paul Dano and Daniel Day-Lewis’ conflict in There Will Be Blood, but that was definitely asking too much. Fanning’s role, like Gleeson’s, is unfortunately cut short just as it gets good.
I guess The Untouchables is starting to sound less like a guilty pleasure and more like a masterpiece when compared to this regrettable misfire.