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Chris Sawin (602 KP) rated Batman Begins (2005) in Movies
Jun 18, 2019
Before Ben Affleck, but after Adam West, Michael Keaton, Kevin Conroy, Val Kilmer, and George Clooney, Christian Bale was Batman for at least two of the best Batman films out there. With a screenplay by director Christopher Nolan and his brother Jonathan and a story by David S. Goyer, Batman Begins is an origin story. Gotham City is dying since criminals like Carmine Falcone (Tom Wilkinson) are able to get away with murder since, “he keeps the bad people rich and the good people scared,” as Rachel Dawes (Katie Holmes) puts it. Bruce Wayne (Christian Bale) trains with Henri Ducard (Liam Neeson), the right hand of Ra’s Al Ghul (Ken Watanabe), and The League of Shadows.
But The League of Shadows has a skewed view of justice since they believe that more serious crimes should be punishable by death (usually by their hand) while Bruce believes in compassion and the right to a fair trial before passing judgment. Leaving The League of Shadows in shambles, Bruce makes his way back to Gotham after a seven year absence. In Bruce’s own words, “As a man, I’m flesh and blood. I can be ignored. I can be destroyed. But as a symbol I can be incorruptible. I can be everlasting.” This is the story of Batman’s uprising; how a young Bruce Wayne conquered his fear of bats and the death of his parents to become the ominous and fearsome dark knight.
Even when you look back at what Christopher Nolan accomplished in his Dark Knight Trilogy, Batman Begins still holds its own and should be considered one of the best Batman films to date. Before Batman v Superman took the dark and gritty aspects of serious superhero films too far, Batman Begins was the first Batman film since Tim Burton’s Batman to favor a more serious tone in comparison to the campiness that overloads the likes of Batman Forever and Batman & Robin. Christopher Nolan always had the intention of keeping Batman grounded in realism and that concept reflected in its incredibly well-written storyline. Batman Begins is a lot like the Year One comic book storyline with Bruce Wayne returning to Gotham City after training in martial arts and being gone for several years, the inclusion of Carmine Falcone, a blossoming relationship between Batman and Jim Gordon, and The Joker tease on the rooftop even ends the story in similar fashion.
The realistic quality Christopher Nolan was aiming for also translates into the dialogue as nothing seems forced or out of place and everything seems to take place in consistent and reasonable fashion. Aside from Christian Bale, the rest of the cast is far more impressive than it had any right to be with the likes of Michael Caine, Morgan Freeman, Gary Oldman, Cillian Murphy, and Rutger Hauer. Caine adds a level of tenderness to the Alfred character we haven’t really seen before while Cillian Murphy is brilliantly sinister as Jonathan Crane/Scarecrow. Thanks to frequent Christopher Nolan collaborator, director of photography Wally Pfister, Batman Begins is beautifully shot. Colors are always bright and vibrant outside of the Batcave as the dark visuals of the film seem to slowly swallow their colorful surroundings piece by piece.
The inclusion of Liam Neeson in the film is an interesting one for statistical purposes. Prior to Taken, Neeson was known for taking on roles where his character died; Star Wars: Episode I – The Phantom Menace, Gangs of New York, Kingdom of Heaven, and The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe are all prime examples. Neeson’s character Ducard is also the main ingredient in the surprise Nolan often includes in the finale of his films. Neeson has this calm demeanor about him as Ducard that portrays just how in control he is of the training he’s passing onto Bruce. The cast to Batman films are usually packed with stars that are relevant to the time it’s released, but Batman Begins can boast that its supporting cast is just as strong as the leads in the film.
The reasoning behind Christian Bale’s Batman voice is legitimate and you certainly understand why it’s utilized, but the awkward transition between normal voice and rough and raspy vigilante takes some getting used to since you immediately think of the ridiculousness in The Lego Batman Movie or the handful of Deadpool 2 jokes whenever he’s Batman now. Katie Holmes is dull dishwater as an actress. She is the least memorable of the entire cast and is basically that person at a party that everyone knows that’s there but they don’t say anything to anybody before leaving when no one is looking. Maggie Gyllenhaal is able to add some depth with the Rachel Dawes character in The Dark Knight, but it’s as if you can still hear the sound of the Dawson’s Creek theme song echoing in your head whenever Gyllenhaal is on-screen; Katie Holmes is like a huge fart that is still smelt after she’s gone in the sequel she’s not even a part of. There was an overwhelming amount of complaints in the online community regarding how ugly Batman’s new Batmobile, The Tumblr, is in the film. While the vehicle is ugly, at least that ugliness is maintained throughout Nolan’s entire trilogy. Batman likes ugly things in this universe, but at least they’re functional and serve their purpose.
Even with how most individuals feel about The Dark Knight, Batman Begins is still an incredible superhero film that is more than capable as a standalone feature as well as the jumpstart to a new set of Batman films. Christopher Nolan practically reinvented the Batman franchise to a certain extent starting with this film. Depending on how you feel about Ben Affleck’s Batman, Christian Bale was the last satisfying Batman.
Batman Begins feels more like a crime film first and a superhero film second where Batman is an unstoppable force of nature. Stripping the film of its origin retelling, one would think this is what Todd McFarlane is going for with his new Spawn film only to an R-rated extent; a superhero that flourishes in the darkness and has a reputation as this spiritual incarnation of vengeance. Christopher Nolan made something special with his Batman films and it feels like Batman Begins is often overlooked due to the reputation of The Dark Knight. While that perspective isn’t necessarily wrong, fans should at least appreciate Batman Begins in a similar light if not a slightly brighter one.
Batman Begins is currently available to stream for $2.99 on Amazon Prime, YouTube, Vudu, and Google Play and for $3.99 on iTunes. The film is available for a variety of formats on Amazon including 4K/Blu-ray ($24.49), DVD ($9.43), and Multi-Format Blu-ray ($11.49). The Blu-ray is currently $5.22 (5% off its normal $5.50 price) in brand new condition and $3.42 pre-owned on eBay with free shipping on both. You can also get the film as part of a three-disc DVD trilogy pack with The Dark Knight and The Dark Knight Rises or as The Dark Knight Trilogy box set on DVD or Blu-ray. Both options are available on both Amazon and eBay (DVD set is running $11.97 on eBay and $19.72 on Amazon while The Dark Knight Trilogy is available in a variety of formats (regular, ultimate, and special editions) on both sites between $12 and $18.99 unless you want the $69.99 ultimate set.
But The League of Shadows has a skewed view of justice since they believe that more serious crimes should be punishable by death (usually by their hand) while Bruce believes in compassion and the right to a fair trial before passing judgment. Leaving The League of Shadows in shambles, Bruce makes his way back to Gotham after a seven year absence. In Bruce’s own words, “As a man, I’m flesh and blood. I can be ignored. I can be destroyed. But as a symbol I can be incorruptible. I can be everlasting.” This is the story of Batman’s uprising; how a young Bruce Wayne conquered his fear of bats and the death of his parents to become the ominous and fearsome dark knight.
Even when you look back at what Christopher Nolan accomplished in his Dark Knight Trilogy, Batman Begins still holds its own and should be considered one of the best Batman films to date. Before Batman v Superman took the dark and gritty aspects of serious superhero films too far, Batman Begins was the first Batman film since Tim Burton’s Batman to favor a more serious tone in comparison to the campiness that overloads the likes of Batman Forever and Batman & Robin. Christopher Nolan always had the intention of keeping Batman grounded in realism and that concept reflected in its incredibly well-written storyline. Batman Begins is a lot like the Year One comic book storyline with Bruce Wayne returning to Gotham City after training in martial arts and being gone for several years, the inclusion of Carmine Falcone, a blossoming relationship between Batman and Jim Gordon, and The Joker tease on the rooftop even ends the story in similar fashion.
The realistic quality Christopher Nolan was aiming for also translates into the dialogue as nothing seems forced or out of place and everything seems to take place in consistent and reasonable fashion. Aside from Christian Bale, the rest of the cast is far more impressive than it had any right to be with the likes of Michael Caine, Morgan Freeman, Gary Oldman, Cillian Murphy, and Rutger Hauer. Caine adds a level of tenderness to the Alfred character we haven’t really seen before while Cillian Murphy is brilliantly sinister as Jonathan Crane/Scarecrow. Thanks to frequent Christopher Nolan collaborator, director of photography Wally Pfister, Batman Begins is beautifully shot. Colors are always bright and vibrant outside of the Batcave as the dark visuals of the film seem to slowly swallow their colorful surroundings piece by piece.
The inclusion of Liam Neeson in the film is an interesting one for statistical purposes. Prior to Taken, Neeson was known for taking on roles where his character died; Star Wars: Episode I – The Phantom Menace, Gangs of New York, Kingdom of Heaven, and The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe are all prime examples. Neeson’s character Ducard is also the main ingredient in the surprise Nolan often includes in the finale of his films. Neeson has this calm demeanor about him as Ducard that portrays just how in control he is of the training he’s passing onto Bruce. The cast to Batman films are usually packed with stars that are relevant to the time it’s released, but Batman Begins can boast that its supporting cast is just as strong as the leads in the film.
The reasoning behind Christian Bale’s Batman voice is legitimate and you certainly understand why it’s utilized, but the awkward transition between normal voice and rough and raspy vigilante takes some getting used to since you immediately think of the ridiculousness in The Lego Batman Movie or the handful of Deadpool 2 jokes whenever he’s Batman now. Katie Holmes is dull dishwater as an actress. She is the least memorable of the entire cast and is basically that person at a party that everyone knows that’s there but they don’t say anything to anybody before leaving when no one is looking. Maggie Gyllenhaal is able to add some depth with the Rachel Dawes character in The Dark Knight, but it’s as if you can still hear the sound of the Dawson’s Creek theme song echoing in your head whenever Gyllenhaal is on-screen; Katie Holmes is like a huge fart that is still smelt after she’s gone in the sequel she’s not even a part of. There was an overwhelming amount of complaints in the online community regarding how ugly Batman’s new Batmobile, The Tumblr, is in the film. While the vehicle is ugly, at least that ugliness is maintained throughout Nolan’s entire trilogy. Batman likes ugly things in this universe, but at least they’re functional and serve their purpose.
Even with how most individuals feel about The Dark Knight, Batman Begins is still an incredible superhero film that is more than capable as a standalone feature as well as the jumpstart to a new set of Batman films. Christopher Nolan practically reinvented the Batman franchise to a certain extent starting with this film. Depending on how you feel about Ben Affleck’s Batman, Christian Bale was the last satisfying Batman.
Batman Begins feels more like a crime film first and a superhero film second where Batman is an unstoppable force of nature. Stripping the film of its origin retelling, one would think this is what Todd McFarlane is going for with his new Spawn film only to an R-rated extent; a superhero that flourishes in the darkness and has a reputation as this spiritual incarnation of vengeance. Christopher Nolan made something special with his Batman films and it feels like Batman Begins is often overlooked due to the reputation of The Dark Knight. While that perspective isn’t necessarily wrong, fans should at least appreciate Batman Begins in a similar light if not a slightly brighter one.
Batman Begins is currently available to stream for $2.99 on Amazon Prime, YouTube, Vudu, and Google Play and for $3.99 on iTunes. The film is available for a variety of formats on Amazon including 4K/Blu-ray ($24.49), DVD ($9.43), and Multi-Format Blu-ray ($11.49). The Blu-ray is currently $5.22 (5% off its normal $5.50 price) in brand new condition and $3.42 pre-owned on eBay with free shipping on both. You can also get the film as part of a three-disc DVD trilogy pack with The Dark Knight and The Dark Knight Rises or as The Dark Knight Trilogy box set on DVD or Blu-ray. Both options are available on both Amazon and eBay (DVD set is running $11.97 on eBay and $19.72 on Amazon while The Dark Knight Trilogy is available in a variety of formats (regular, ultimate, and special editions) on both sites between $12 and $18.99 unless you want the $69.99 ultimate set.
Bob Mann (459 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Nov 20, 2019
Damon, Bale and fast cars (1 more)
Epic technical film making - cinematography, editing and sound - Oscar bait
A linear story on a circular track - but beautifully done.
Despite the love affair cinema has had with cars over the years, the sport of motor racing on film has been patchy. Too often the drama on the track has been deluged with melodrama off the track, as in John Frankenheimer's "Grand Prix" from 1966. While recent efforts such as Ron Howard's "Rush" have brought modern filming techniques to better convey the speed and excitement, it is Steve McQueen's "Le Mans" from 1971 that had previously set the bar for realism in the sport. But even there, there were a few off-track love stories to interweave into the action.
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
Darren (1599 KP) rated Annabelle Comes Home (2019) in Movies
Jul 10, 2019
Director: Gary Dauberman
Writer: Gary Dauberman (Screenplay) James Wan (Story)
Starring: Vera Farmiga, Patrick Wilson, Mckenna Grace, Madison Iseman, Katie Sarife, Michael Cimino, Samara Lee
Plot: While babysitting the daughter of Ed and Lorraine Warren, a teenager and her friend unknowingly awaken an evil spirit trapped in a doll.
Tagline – The Next Chapter In The Conjuring Universe
Runtime: 1 Hour 46 Minutes
There may be spoilers in the rest of the review
Verdict: Relentless Scares
Story: Annabelle Comes Home starts one year after the Warren’s Ed (Wilson) and Lorraine (Farmiga) bring the Annabelle doll home, knowing its power to control the other items inside their blessed room. With Ed and Lorraine going on a business trip, it leaves their daughter Judy (Grace) with girl next door babysitter Mary Ellen (Iseman), who has planned a little birthday surprise.
When Mary Ellen’s best friend Daniela (Sarife) decides to visit, with questions about the house, getting a moment alone, she sneaks into the blessed room, only to unleash a host of evil upon the three for a night of terror, all thanks to the dreaded Annabelle doll.
Thoughts on Annabelle Comes Home
Characters – Judy Warren is the daughter of the famous paranormal investigators, she is treated differently at school because of this, with some students being scared, while others just bully her, she does see spirits too and is a shy little girl, she just wants to make friends like any young girl and is struggling with the fact nobody will be her friend except her babysitter Mary Ellen. She does know how to handle herself when hauntings start happening around her house though. Mary Ellen is the girl next door babysitter, she might well be worried about who will take her to homecoming, but she is a friend that Judy needs. Daniela Rios is the best friend of Mary Ellen, she invites herself over to look around, in hopes that she could find a way to connect with her deceased father, whose death was an accident, but she believes was her fault, she unleashes all the evil items on the household, which would make her truly horrible, until you add in the reason why she is trying to find forgiveness. Ed and Lorraine are the familiar faces, only they are basically extended cameos in the film. Bob is the love interest of Mary Ellen and he does through the generic awkward moments of trying to ask her out, he is good for a laugh too.
Performances – McKenna Grace takes over the role of the daughter, she does make us believe that her character has become distant from the world around her, makes us believe she is feeling lonely and isolated too. Madison Iseman makes for an easy pick for the babysitter, she comes off friendly and gives the scream level required to show the fear. Katie Sarife is strong as friend who unleashes everything, somehow making a character we could hate feel sympathy towards. Vera Farmiga and Patrick Wilson do seem to be here as a draw, only they are barely even in the film.
Story – The story here follows a babysitter’s friend visiting the Warren’s house who unleashes all the evil from the safety, only for the three girls needing to put a halt to this before they can become the latest victims of the curses they have. This story does have a few positives and negatives, the first positive being see how the daughter of the Warren’s is struggling with making connections in life because of their work, we could have easily dived deeper with this, but it was nice to see a change in why somebody is isolated. The pure number of different evil figures we meet through the film is brilliant to see because this opens the doors to seemingly endless amounts of spin off movies now, which could be seen as a negative because, while this is an Annabelle movie, it does tend to focus on the other evil, instead of the main one attached to Annabelle. We could get into character decisions, which aren’t the smartest especially when it comes to knowing who the character of Judy is meant to be.
Horror/Mystery – The horror in the film, is an endless amounts of jump scares, this does work because each does have its own way of being effective, even if a lot if music goes silent and either a boom or something charging the screen. The mystery comes from each new evil that we get to see, we get glimpses into a few leading us to only want to know more.
Settings – The film is set in one singular location, the Warren house, this has all the evil set up within it, which means once it comes out and traps them, they don’t know what will come next.
Special Effects – The effect in the film are strong throughout, with each creation look different, with a couple of tricks for the Ferryman coming off nicely.
Scene of the Movie – The circular shot, I am a fan of this shot even if it was the same as the Nun.
That Moment That Annoyed Me – I can’t help but think one of the rules for babysitting at the Warren’s, would be, anything slightly strange happens, get out until we come home.
Final Thoughts – This is a nice jump scare filled horror, it has plenty of references to the previous films and does leave us wanting more from this universe.
Overall: Jump scares for everyone.
Rating
Writer: Gary Dauberman (Screenplay) James Wan (Story)
Starring: Vera Farmiga, Patrick Wilson, Mckenna Grace, Madison Iseman, Katie Sarife, Michael Cimino, Samara Lee
Plot: While babysitting the daughter of Ed and Lorraine Warren, a teenager and her friend unknowingly awaken an evil spirit trapped in a doll.
Tagline – The Next Chapter In The Conjuring Universe
Runtime: 1 Hour 46 Minutes
There may be spoilers in the rest of the review
Verdict: Relentless Scares
Story: Annabelle Comes Home starts one year after the Warren’s Ed (Wilson) and Lorraine (Farmiga) bring the Annabelle doll home, knowing its power to control the other items inside their blessed room. With Ed and Lorraine going on a business trip, it leaves their daughter Judy (Grace) with girl next door babysitter Mary Ellen (Iseman), who has planned a little birthday surprise.
When Mary Ellen’s best friend Daniela (Sarife) decides to visit, with questions about the house, getting a moment alone, she sneaks into the blessed room, only to unleash a host of evil upon the three for a night of terror, all thanks to the dreaded Annabelle doll.
Thoughts on Annabelle Comes Home
Characters – Judy Warren is the daughter of the famous paranormal investigators, she is treated differently at school because of this, with some students being scared, while others just bully her, she does see spirits too and is a shy little girl, she just wants to make friends like any young girl and is struggling with the fact nobody will be her friend except her babysitter Mary Ellen. She does know how to handle herself when hauntings start happening around her house though. Mary Ellen is the girl next door babysitter, she might well be worried about who will take her to homecoming, but she is a friend that Judy needs. Daniela Rios is the best friend of Mary Ellen, she invites herself over to look around, in hopes that she could find a way to connect with her deceased father, whose death was an accident, but she believes was her fault, she unleashes all the evil items on the household, which would make her truly horrible, until you add in the reason why she is trying to find forgiveness. Ed and Lorraine are the familiar faces, only they are basically extended cameos in the film. Bob is the love interest of Mary Ellen and he does through the generic awkward moments of trying to ask her out, he is good for a laugh too.
Performances – McKenna Grace takes over the role of the daughter, she does make us believe that her character has become distant from the world around her, makes us believe she is feeling lonely and isolated too. Madison Iseman makes for an easy pick for the babysitter, she comes off friendly and gives the scream level required to show the fear. Katie Sarife is strong as friend who unleashes everything, somehow making a character we could hate feel sympathy towards. Vera Farmiga and Patrick Wilson do seem to be here as a draw, only they are barely even in the film.
Story – The story here follows a babysitter’s friend visiting the Warren’s house who unleashes all the evil from the safety, only for the three girls needing to put a halt to this before they can become the latest victims of the curses they have. This story does have a few positives and negatives, the first positive being see how the daughter of the Warren’s is struggling with making connections in life because of their work, we could have easily dived deeper with this, but it was nice to see a change in why somebody is isolated. The pure number of different evil figures we meet through the film is brilliant to see because this opens the doors to seemingly endless amounts of spin off movies now, which could be seen as a negative because, while this is an Annabelle movie, it does tend to focus on the other evil, instead of the main one attached to Annabelle. We could get into character decisions, which aren’t the smartest especially when it comes to knowing who the character of Judy is meant to be.
Horror/Mystery – The horror in the film, is an endless amounts of jump scares, this does work because each does have its own way of being effective, even if a lot if music goes silent and either a boom or something charging the screen. The mystery comes from each new evil that we get to see, we get glimpses into a few leading us to only want to know more.
Settings – The film is set in one singular location, the Warren house, this has all the evil set up within it, which means once it comes out and traps them, they don’t know what will come next.
Special Effects – The effect in the film are strong throughout, with each creation look different, with a couple of tricks for the Ferryman coming off nicely.
Scene of the Movie – The circular shot, I am a fan of this shot even if it was the same as the Nun.
That Moment That Annoyed Me – I can’t help but think one of the rules for babysitting at the Warren’s, would be, anything slightly strange happens, get out until we come home.
Final Thoughts – This is a nice jump scare filled horror, it has plenty of references to the previous films and does leave us wanting more from this universe.
Overall: Jump scares for everyone.
Rating
Bob Mann (459 KP) rated Logan (2017) in Movies
Sep 29, 2021
“When the man comes around”
At last – a superhero movie with real heart… (and not just the chunks over the knuckle blades!). Logan is a bit of a revelation. I was reluctant to go and see it, since a) I’m a lukewarm X-Men fan at best and b) I hadn’t seen either of the previous two Wolverine spin-off films. (Seeing the other Wolverine films, by the way, is not a pre-requisite for enjoying this one). After a long day at work, my choice was “Logan” or “Kong: Skull Island”. I voted for this one, and I’m so glad I did.
It’s now 2029. Hugh Jackman plays Wolverine, but this is not a Wolverine we have seen before. This is an aged and deteriorating superhero: his self-healing powers are waning; a limp is developing; and his fighting prowess (although still legendary) doesn’t show the stamina it once did. This is a Wolverine that is also an unlikely carer, looking after a mentally degenerating Professor Xavier (Patrick Stewart), now 90 years old and finding it increasingly difficult to keep his devastating mental superpowers under control. This is a Wolverine trying desperately to avoid the limelight, working diligently as a limo-driver in an effort to save money for the dream of buying a ‘Sunseeker’ and sailing off with Xavier into the sunset, gaining true anonymity among the boating fraternity.
Life doesn’t play ball though. A brutal encounter with a gang on the highway outside El Paso advertises Wolverine’s presence and brings him into contact with a strange eleven-year-old girl (Dafne Keen) with impressive powers of her own. The girl is being pursued by a “reiver” (Boyd Holbrook, “Run all Night”) supported by a small private army. Against his will, Wolverine is forced into a memorable road trip with the old man and the young girl that leaves a trail of bloodied bodies behind them.
For, be warned, this is an *extremely* violent film, with much dismemberment and ‘blade work’ that must have kept the prosthetics department busy for months. It’s also quite emotionally brutal, particularly within a central segment set in a “Field of Dreams” style idyll (featuring Eriq La Salle from E.R.) that you know in your gut is not going to end with “Goodnight John Boy” pleasantries.
The well-choreographed and frenetic action within the road-trip segment reminded me at times of the harsh cinematography and dynamics of “Mad Max: Fury Road” – a great compliment.
But the film also takes time to pause, in uncharacteristic Marvel-ways, for character development and genuinely intelligent dialogue. These interludes allow the acting to shine, and it is first-rate. We all know (from “Les Miserables” for instance) that Hugh Jackman can act, but this is arguably his best-ever performance: a meaty role (he actually has two in the film) that affords him tremendous range and emotion. At one point towards the end of the film I thought “this has genuine Oscar show-reel potential”. He will surely never get nominated – a Marvel film? Get Away! But wouldn’t it make a refreshing change if he was? Recognizing good acting, regardless of the context.
Patrick Stewart is a great Shakespearean actor, and here he also gets given full rein to impress as he hasn’t had chance to in most of his movie roles to date.
Claiming the prize so far this year for the most unusual casting decision is Stephen Merchant as the albino helper Caliban, unrecognizable to me at first until he had some lengthy dialogue to flex his Bristol accent on! A non-comic and dramatic role, Merchant does really well with it.
Finally, I can’t leave the acting without doffing my cap to young Dafne Keen whose mesmerising feral stare would probably put the fear of God into every parent of a pre-teen girl! Even though she has only a handful of lines, this is an impressive feature film debut. I predict we will see much more of this young lady.
Less convincing to me was Richard E Grant as the evil mastermind behind the scheme, who never quite seemed nasty enough to me to be believable: in one scene he could be calling back a dog that’s run off down the beach rather than desperately trying to gain control of an out of control situation!
Directed by James Mangold (“Walk the Line”, “Knight and Day”), who co-wrote the piece with Scott Frank (“Minority Report”) and Michael Green (“Green Lantern”… yes, really!), this was a gritty and well constructed movie. If you can stomach the gore and the body count (I would see it as very lucky to have got away with its UK ’15’ certificate) this is a rollercoaster of a movie that is recommended.
By the way, to save you from sitting through the end titles (although you do get a Johnny Cash classic to enjoy) there is no “monkey” at the end of this Marvel film. (I’m no stranger to still be sitting there as the lights come up… but many of the crowd that were left looked vaguely embarrassed!)
In terms of my rating, I’m not a fanboy for Marvel or DC properties, but here I award a rating I have only previously bestowed on two superhero films before: the quirky “Ant Man” and the anarchic “Deadpool“….
It’s now 2029. Hugh Jackman plays Wolverine, but this is not a Wolverine we have seen before. This is an aged and deteriorating superhero: his self-healing powers are waning; a limp is developing; and his fighting prowess (although still legendary) doesn’t show the stamina it once did. This is a Wolverine that is also an unlikely carer, looking after a mentally degenerating Professor Xavier (Patrick Stewart), now 90 years old and finding it increasingly difficult to keep his devastating mental superpowers under control. This is a Wolverine trying desperately to avoid the limelight, working diligently as a limo-driver in an effort to save money for the dream of buying a ‘Sunseeker’ and sailing off with Xavier into the sunset, gaining true anonymity among the boating fraternity.
Life doesn’t play ball though. A brutal encounter with a gang on the highway outside El Paso advertises Wolverine’s presence and brings him into contact with a strange eleven-year-old girl (Dafne Keen) with impressive powers of her own. The girl is being pursued by a “reiver” (Boyd Holbrook, “Run all Night”) supported by a small private army. Against his will, Wolverine is forced into a memorable road trip with the old man and the young girl that leaves a trail of bloodied bodies behind them.
For, be warned, this is an *extremely* violent film, with much dismemberment and ‘blade work’ that must have kept the prosthetics department busy for months. It’s also quite emotionally brutal, particularly within a central segment set in a “Field of Dreams” style idyll (featuring Eriq La Salle from E.R.) that you know in your gut is not going to end with “Goodnight John Boy” pleasantries.
The well-choreographed and frenetic action within the road-trip segment reminded me at times of the harsh cinematography and dynamics of “Mad Max: Fury Road” – a great compliment.
But the film also takes time to pause, in uncharacteristic Marvel-ways, for character development and genuinely intelligent dialogue. These interludes allow the acting to shine, and it is first-rate. We all know (from “Les Miserables” for instance) that Hugh Jackman can act, but this is arguably his best-ever performance: a meaty role (he actually has two in the film) that affords him tremendous range and emotion. At one point towards the end of the film I thought “this has genuine Oscar show-reel potential”. He will surely never get nominated – a Marvel film? Get Away! But wouldn’t it make a refreshing change if he was? Recognizing good acting, regardless of the context.
Patrick Stewart is a great Shakespearean actor, and here he also gets given full rein to impress as he hasn’t had chance to in most of his movie roles to date.
Claiming the prize so far this year for the most unusual casting decision is Stephen Merchant as the albino helper Caliban, unrecognizable to me at first until he had some lengthy dialogue to flex his Bristol accent on! A non-comic and dramatic role, Merchant does really well with it.
Finally, I can’t leave the acting without doffing my cap to young Dafne Keen whose mesmerising feral stare would probably put the fear of God into every parent of a pre-teen girl! Even though she has only a handful of lines, this is an impressive feature film debut. I predict we will see much more of this young lady.
Less convincing to me was Richard E Grant as the evil mastermind behind the scheme, who never quite seemed nasty enough to me to be believable: in one scene he could be calling back a dog that’s run off down the beach rather than desperately trying to gain control of an out of control situation!
Directed by James Mangold (“Walk the Line”, “Knight and Day”), who co-wrote the piece with Scott Frank (“Minority Report”) and Michael Green (“Green Lantern”… yes, really!), this was a gritty and well constructed movie. If you can stomach the gore and the body count (I would see it as very lucky to have got away with its UK ’15’ certificate) this is a rollercoaster of a movie that is recommended.
By the way, to save you from sitting through the end titles (although you do get a Johnny Cash classic to enjoy) there is no “monkey” at the end of this Marvel film. (I’m no stranger to still be sitting there as the lights come up… but many of the crowd that were left looked vaguely embarrassed!)
In terms of my rating, I’m not a fanboy for Marvel or DC properties, but here I award a rating I have only previously bestowed on two superhero films before: the quirky “Ant Man” and the anarchic “Deadpool“….
Justin Patchett (42 KP) rated Inception (2010) in Movies
Mar 13, 2019
Masterful visuals, including many practical effects wonders (1 more)
Extraordinary score by Hans Zimmer
Relationships bud in the film, but feel forced (1 more)
A few plot-holes, albeit none thoroughly distracting
Contains spoilers, click to show
With two of the most scathing reviews I’ve written under my belt, I figured it was time to write about my favorite movie of all time, Christopher Nolan’s “Inception.”
“Inception” revolves around Dom Cobb (Leonardo DiCaprio), a spy who uses military-grade technology and shared dreams to extract information from his marks. He and his team are unwittingly tested by their latest target, Mr. Saito (Ken Watanabe) for recruitment into a different kind of job: Inception, a type of job using the same skills and technology to implant an idea. In particular, Saito calls on Cobb to plant an idea on his business competitor, Robert Fischer (Cillian Murphy). In spite of his reluctancy about this type of job, Saito’s offer to clear Cobb of a murder charge sways Cobb in favor of taking the job.
Cobb gathers new help, including Ariadne (Ellen Page), an architect he finds capable of creating complex labyrinths. With the help of a deep sedative, the team is able to make Fischer have dreams within dreams within dreams, a method that makes the mark more receptive to the implanted idea. It comes with a cost, though: The dreams become more unstable as they continue going deeper into the dream world, and the sedative itself creates the risk of actual death within the dream.
First of all, let’s talk cast. Already, we’ve got four top-grade talents named, but we also have Joseph Gordon-Levitt as Arthur, Cobb’s point man, Tom Hardy as Eames, a forger, and additional roles filled by Marion Cotillard and Michael Caine. Nolan did not lack for talent in this one, and by gosh it shows.
Visually, “Inception” excels most with making the impossible as real as cinema can make it. Throughout the film, characters are able to manipulate the rules of the dream world, making for moments where fruit explodes, cities bend, and stairwells become endless. Beyond portraying the impossible, though, the film has to show the real world, too. In those scenes, an aesthetic that can’t exactly be placed takes over. The technology has a slightly retro-futuristic feel to it, while the fashion and settings rely on classic tastes. Even Hans Zimmer’s score, which samples from the work of vocalist Edith Piaf, contributes to the chronological ambiguity of the movie. By not being able to place the film’s setting in any particular year or even decade, it seems prepackaged to become a classic film.
Speaking of Zimmer, he’s is at his best with this score. The complexity of the film reflects in a layered score, and listening to it on its own is its own sort of treat. It’s one of those symphonic recordings that the listener will pick out something they never noticed before every time.
But even above the stellar cast and visuals that have inspired reality-bending sequences in films since, this film’s biggest success is its use of approachable themes and concepts to tell a story within a story. Nearly a decade after its initial release, fans have widely circulated the idea that “Inception” is a film about storytelling. Concepts as basic as nesting stories within stories play out many ways across the plot. It also plays with common experiences in dreams, turning experiences like the feeling of falling into tools for Cobb’s team to exploit. Essentially, if you can dream, you already have a primer in this film’s core principles.
It’s not without flaws, as no film is. Certain moments fail to hold up upon closer inspection. For instance, the relationship between Ariadne and Arthur comes across forced. Those moments aside, from its foreshadowing opening to its meaningfully open-ended ending, “Inception” is an absolute marvel.
“Inception” revolves around Dom Cobb (Leonardo DiCaprio), a spy who uses military-grade technology and shared dreams to extract information from his marks. He and his team are unwittingly tested by their latest target, Mr. Saito (Ken Watanabe) for recruitment into a different kind of job: Inception, a type of job using the same skills and technology to implant an idea. In particular, Saito calls on Cobb to plant an idea on his business competitor, Robert Fischer (Cillian Murphy). In spite of his reluctancy about this type of job, Saito’s offer to clear Cobb of a murder charge sways Cobb in favor of taking the job.
Cobb gathers new help, including Ariadne (Ellen Page), an architect he finds capable of creating complex labyrinths. With the help of a deep sedative, the team is able to make Fischer have dreams within dreams within dreams, a method that makes the mark more receptive to the implanted idea. It comes with a cost, though: The dreams become more unstable as they continue going deeper into the dream world, and the sedative itself creates the risk of actual death within the dream.
First of all, let’s talk cast. Already, we’ve got four top-grade talents named, but we also have Joseph Gordon-Levitt as Arthur, Cobb’s point man, Tom Hardy as Eames, a forger, and additional roles filled by Marion Cotillard and Michael Caine. Nolan did not lack for talent in this one, and by gosh it shows.
Visually, “Inception” excels most with making the impossible as real as cinema can make it. Throughout the film, characters are able to manipulate the rules of the dream world, making for moments where fruit explodes, cities bend, and stairwells become endless. Beyond portraying the impossible, though, the film has to show the real world, too. In those scenes, an aesthetic that can’t exactly be placed takes over. The technology has a slightly retro-futuristic feel to it, while the fashion and settings rely on classic tastes. Even Hans Zimmer’s score, which samples from the work of vocalist Edith Piaf, contributes to the chronological ambiguity of the movie. By not being able to place the film’s setting in any particular year or even decade, it seems prepackaged to become a classic film.
Speaking of Zimmer, he’s is at his best with this score. The complexity of the film reflects in a layered score, and listening to it on its own is its own sort of treat. It’s one of those symphonic recordings that the listener will pick out something they never noticed before every time.
But even above the stellar cast and visuals that have inspired reality-bending sequences in films since, this film’s biggest success is its use of approachable themes and concepts to tell a story within a story. Nearly a decade after its initial release, fans have widely circulated the idea that “Inception” is a film about storytelling. Concepts as basic as nesting stories within stories play out many ways across the plot. It also plays with common experiences in dreams, turning experiences like the feeling of falling into tools for Cobb’s team to exploit. Essentially, if you can dream, you already have a primer in this film’s core principles.
It’s not without flaws, as no film is. Certain moments fail to hold up upon closer inspection. For instance, the relationship between Ariadne and Arthur comes across forced. Those moments aside, from its foreshadowing opening to its meaningfully open-ended ending, “Inception” is an absolute marvel.
Gareth von Kallenbach (977 KP) rated Call of Duty: Ghosts - Nemesis in Video Games
Jun 19, 2019
Nemesis has arrived and it closes out the DLC for Call of Duty: Ghosts in
grand style. The collection offers four new maps as well as the final
chapter of the Extinction series and is a satisfying and engaging
conclusion to Ghosts and should keep fans busy until Call of Duty:
Advanced Warfare ships in November.
As I have documented in the past, The multiplayer aspect of Ghosts never
fully clicked for me the way that past versions of the game have. I have
been frustrated by numerous hacks, balance issues, and other frustrations
when playing on PC which has diminished the enthusiasm I once had for it.
Nemesis does many things right such as restoring the fun of run and gun
style play but yet allowing players of other styles to have their day as
well.
By offering classics such as Team Deathmath and Kill Confirmed I have
found that my scores have increased and my levels of frustrations have
decreased. Nemesis has eschewed the rewards of adding Michael Myers, the
Predator, and Pirate and Mariachi rewards that were a nice perk of the
previous packs to give players what they want, action.
Showtime
Is a run and gun map set in a kill or be killed arena. Teams battle in the
arena and backstage in a close quarters fragfest. I love to walk around
with an armed explosive in game daring people to take me out, and then
racking up the kills by wading into groups of enemies.
The shotgun worked very well for me as being on the move is a good plan as
although there are plenty of cars and containers to hide in as well as a
pyrotechnic stage, you will be found fast in this one.
SubZero
This has been my favorite map of the collection. Set in a frozen Canadian
base, there is everything from a Hockey rink to stacks of beer crates as
players battle indoors and outdoors. Plenty of choke points that area
ideal for snipers and grenades as well as some great outdoor environments
make this one a great map for those who like to get into the action fast
and pile it on.
Dynasty
Set in an Asian setting, players travel a multi-level map to take the
battle to tight quarters. There are plenty of windows, ledges, and alleys
for players to snipe from or spring attacks, and the detail level of the
map is great. I have enjoyed the detail level of the map and the mix of
environments which have allowed this map to grow on me over time.
Goldrush
The final map is set in a mine and makes me think of two of my favorite
theme park attractions, The Calico Mine Ride at Knotts Berry Farm and Big
Thunder Mountain at Disneyland. The map has working mine cars which you
can ride in and run enemies over with, as well as elevators, stairs, and
interior and exterior mine areas for combat. The map is filled with places
to hide and strike from and those who want to really have some fun may
want to hop a mine car and ride the map as it is like being in a roller
coaster. The interiors of the mine are also amazing to look at as you will
want to explore them, but be warned, danger is everywhere.
As I mentioned prior, the finale of the Alien themed co-op Extinction mode
is included and makes the Nemesis collection a very complete and
satisfying experience. Although Ghosts has had some issues as far as I am
concerned in the multiplayer area, the best has been saved for last as
Nemesis delivers the fun and variety that fans have been looking for, I
just wish the hacks and other issues with the game would be dealt with.
http://sknr.net/2014/09/24/call-duty-ghosts-nemesis/
grand style. The collection offers four new maps as well as the final
chapter of the Extinction series and is a satisfying and engaging
conclusion to Ghosts and should keep fans busy until Call of Duty:
Advanced Warfare ships in November.
As I have documented in the past, The multiplayer aspect of Ghosts never
fully clicked for me the way that past versions of the game have. I have
been frustrated by numerous hacks, balance issues, and other frustrations
when playing on PC which has diminished the enthusiasm I once had for it.
Nemesis does many things right such as restoring the fun of run and gun
style play but yet allowing players of other styles to have their day as
well.
By offering classics such as Team Deathmath and Kill Confirmed I have
found that my scores have increased and my levels of frustrations have
decreased. Nemesis has eschewed the rewards of adding Michael Myers, the
Predator, and Pirate and Mariachi rewards that were a nice perk of the
previous packs to give players what they want, action.
Showtime
Is a run and gun map set in a kill or be killed arena. Teams battle in the
arena and backstage in a close quarters fragfest. I love to walk around
with an armed explosive in game daring people to take me out, and then
racking up the kills by wading into groups of enemies.
The shotgun worked very well for me as being on the move is a good plan as
although there are plenty of cars and containers to hide in as well as a
pyrotechnic stage, you will be found fast in this one.
SubZero
This has been my favorite map of the collection. Set in a frozen Canadian
base, there is everything from a Hockey rink to stacks of beer crates as
players battle indoors and outdoors. Plenty of choke points that area
ideal for snipers and grenades as well as some great outdoor environments
make this one a great map for those who like to get into the action fast
and pile it on.
Dynasty
Set in an Asian setting, players travel a multi-level map to take the
battle to tight quarters. There are plenty of windows, ledges, and alleys
for players to snipe from or spring attacks, and the detail level of the
map is great. I have enjoyed the detail level of the map and the mix of
environments which have allowed this map to grow on me over time.
Goldrush
The final map is set in a mine and makes me think of two of my favorite
theme park attractions, The Calico Mine Ride at Knotts Berry Farm and Big
Thunder Mountain at Disneyland. The map has working mine cars which you
can ride in and run enemies over with, as well as elevators, stairs, and
interior and exterior mine areas for combat. The map is filled with places
to hide and strike from and those who want to really have some fun may
want to hop a mine car and ride the map as it is like being in a roller
coaster. The interiors of the mine are also amazing to look at as you will
want to explore them, but be warned, danger is everywhere.
As I mentioned prior, the finale of the Alien themed co-op Extinction mode
is included and makes the Nemesis collection a very complete and
satisfying experience. Although Ghosts has had some issues as far as I am
concerned in the multiplayer area, the best has been saved for last as
Nemesis delivers the fun and variety that fans have been looking for, I
just wish the hacks and other issues with the game would be dealt with.
http://sknr.net/2014/09/24/call-duty-ghosts-nemesis/
Darren (1599 KP) rated 96 Minutes (2012) in Movies
Jun 20, 2019
Story: 96 Minutes starts by introducing us to all the characters involved, we have Lena (Serratos) a young woman questioning her relationship choice, Raymond (Martin) working hard at school and a job for Duane (Oyelowo), Kevin (Trautmann) an angry young man who doesn’t enjoy his life where his mother has caused problems, Dre (Ross) a young man that is finally achieving his grades but won’t leave his past behind him and Carley (Snow) a student that is studying law. All of this is leads to a carjacking gone wrong.
The carjacking includes an injured Lena being cared for by Carley after Kevin gets into the mind-set of trying to impress the local gang that Dre gets dragged into supporting his friend.
96 Minutes is a drama thriller that shows the effects of one wrong moment in life, we see how these four people are trying to start something in their lives but when they clash each person’s life will be changed. The film shows how the four characters are average everyday people that shows us how easily anyone could fall into the events. The story does bounce between showing us the normal lives of our characters and the carjacking which shows the character’s mind-sets are through each situation. This is a very powerful drama that is very good to watch.
Actor Review
Brittany Snow: Carley is the law student that is about to graduate but without her father seeing the important part of her life. She finds herself on the wrong end of a carjacking where she must tend to the wounds Lena has received. Brittany showed she can pull off a serious role to go against her more commercial roles.carley
Christian Serratos: Lena is a fellow student that is having an awful day when she discovers her boyfriend is seeing someone else, she then wrecks her car and just wanting to go home she finds herself injured during a carjacking. Christian is great in this role even with half of the film she finds herself injured.
J Michael Trautmann: Kevin is an angry young man who lives with his constantly abused mother while trying to impress the local gang. He is good friends with Dre who tries to calm him down but this only leads to him jacking Carley’s car putting Dre’s future at risk too. J is also great in this role showing how easily young men can be pushed into committing crimes.
Evan Ross: Dre is a young man from the wrong neighbourhood who has achieved something by graduating and wants to show Kevin the future he could one day have. He ends up being the driver in the carjacking but wants to do the right thing. Evan gives us a great performance where he shines through.dre
Support Cast: 96 Minutes has a supporting cast that really works well with our main four characters.
Director Review: Aimee Lagos – Aimee gives us a powerful drama that keeps us on edge wondering what is happens next.
Thriller: 96 Minutes keeps us wondering what will happen to our characters next as the story unfolds.
Settings: 96 Minutes shows the two worlds clashing with two boys coming from the wrong side of town trying to make their own future while the girls show where the next stage will be.
Suggestion: 96 Minutes is one I think everyone should watch at least once. (Watch)
Best Part: Performances are brilliant.
Worst Part: Jumping between the two sometimes comes off confusing.
Believability: Inspired by true events.
Chances of Tears: No
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: No
Runtime: 1 Hour 33 Minutes
Tagline: Out of options. Out of control. Out of time.
Overall: Brilliant drama that really sucks you in to see one life changing events.
https://moviesreview101.com/2016/05/31/96-minutes-2011/
The carjacking includes an injured Lena being cared for by Carley after Kevin gets into the mind-set of trying to impress the local gang that Dre gets dragged into supporting his friend.
96 Minutes is a drama thriller that shows the effects of one wrong moment in life, we see how these four people are trying to start something in their lives but when they clash each person’s life will be changed. The film shows how the four characters are average everyday people that shows us how easily anyone could fall into the events. The story does bounce between showing us the normal lives of our characters and the carjacking which shows the character’s mind-sets are through each situation. This is a very powerful drama that is very good to watch.
Actor Review
Brittany Snow: Carley is the law student that is about to graduate but without her father seeing the important part of her life. She finds herself on the wrong end of a carjacking where she must tend to the wounds Lena has received. Brittany showed she can pull off a serious role to go against her more commercial roles.carley
Christian Serratos: Lena is a fellow student that is having an awful day when she discovers her boyfriend is seeing someone else, she then wrecks her car and just wanting to go home she finds herself injured during a carjacking. Christian is great in this role even with half of the film she finds herself injured.
J Michael Trautmann: Kevin is an angry young man who lives with his constantly abused mother while trying to impress the local gang. He is good friends with Dre who tries to calm him down but this only leads to him jacking Carley’s car putting Dre’s future at risk too. J is also great in this role showing how easily young men can be pushed into committing crimes.
Evan Ross: Dre is a young man from the wrong neighbourhood who has achieved something by graduating and wants to show Kevin the future he could one day have. He ends up being the driver in the carjacking but wants to do the right thing. Evan gives us a great performance where he shines through.dre
Support Cast: 96 Minutes has a supporting cast that really works well with our main four characters.
Director Review: Aimee Lagos – Aimee gives us a powerful drama that keeps us on edge wondering what is happens next.
Thriller: 96 Minutes keeps us wondering what will happen to our characters next as the story unfolds.
Settings: 96 Minutes shows the two worlds clashing with two boys coming from the wrong side of town trying to make their own future while the girls show where the next stage will be.
Suggestion: 96 Minutes is one I think everyone should watch at least once. (Watch)
Best Part: Performances are brilliant.
Worst Part: Jumping between the two sometimes comes off confusing.
Believability: Inspired by true events.
Chances of Tears: No
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: No
Runtime: 1 Hour 33 Minutes
Tagline: Out of options. Out of control. Out of time.
Overall: Brilliant drama that really sucks you in to see one life changing events.
https://moviesreview101.com/2016/05/31/96-minutes-2011/
Gareth von Kallenbach (977 KP) rated The Wolfman (2010) in Movies
Aug 8, 2019
During the golden age of cinematic horror, Lon Chaney terrified audiences with his portrayal of the Wolfman which launched the character as a cultural mainstay.
Over the years there have been countless updates to the tale which ranged from Michael Landon in “I Was a Teenage Werewolf, to the more contemporary “An American Werewolf in London” and “Dog Soldiers”.
With remakes being all the rage in Hollywood, Universal has returned to the original source material to offer an updated version of the original classic.
Set in England near the start of the twentieth century, the film stars Benicio Del Toro as an actor named Lawrence who is summoned home when his brother goes missing. Upon returning to the lavish familial estate, he is greeted by his estranged father, (Sir Anthony Hopkins), who informs him that his brother mutilated body was discovered earlier.
Dismayed by the condition of his brother’s remains, Lawrence decides to stay and get to the bottom of the mystery. When a clue provided by his brother’s fiancé leads him to a Gypsy encampment, Lawrence learns of a curse, but before he can obtain the information he desires, the camp is attacked by a mysterious creature that leaves a horrific path of carnage in its wake and leaves Lawrence badly wounded from a bite.
Lawrence makes an amazing recovery from his wounds and in doing so raises the suspicions of the locals who now see Lawrence as cursed and a threat to their society.
Lawrence has also raised the suspicions of Scotland Yard Inspector, (Hugo Weaving) who is convinced that Lawrence may be a key player in the local horror, as he was confined to an asylum in his childhood following the death of his mother.
At first Lawrence is outraged at the accusations, but when he transforms into a deadly creature and embarks on a deadly killing spree during a full moon, he soon learns a dangerous secret that places not only his life in danger, but endangers all those around him.
In a desperate race against time, Lawrence attempts to get to the root of his troubles and set things right before the next full moon, when his animal side will take over once again.
The film is a stylish update of the original and the cast is strong. Sadly they are given little to do with the by the numbers plot, and spend much of the time looking like they are simply going through the motions which makes it difficult for the audience to develop a deep sympathy or attachment to the characters.
Oscar winner Rick Baker has done some amazing makeup work and the effects of the film are solid. It was reported that the film was delayed so Universal could punch the film up by adding some new fx and sequences.
The final result is a mixed bag as while the film is a nice update on the original, audiences have seen more so many variations of the story over the years it is hard to be surprised by anything in the picture. Despite the best efforts of the creative talent, there is little tension or drama in the film and by the time the finale plays out, many may think they have seen it all before.
Universal has released the 1941 original Lon Cheney version of the film on DVD and for those who like film history; they may gain a new insight into the film by watching the original version prior.
In the end, “The Wolfman” works as a matinee or a DVD rental, but I would not suggest it as a full priced theatrical experience for anyone other than those looking for a piece of nostalgia.
Over the years there have been countless updates to the tale which ranged from Michael Landon in “I Was a Teenage Werewolf, to the more contemporary “An American Werewolf in London” and “Dog Soldiers”.
With remakes being all the rage in Hollywood, Universal has returned to the original source material to offer an updated version of the original classic.
Set in England near the start of the twentieth century, the film stars Benicio Del Toro as an actor named Lawrence who is summoned home when his brother goes missing. Upon returning to the lavish familial estate, he is greeted by his estranged father, (Sir Anthony Hopkins), who informs him that his brother mutilated body was discovered earlier.
Dismayed by the condition of his brother’s remains, Lawrence decides to stay and get to the bottom of the mystery. When a clue provided by his brother’s fiancé leads him to a Gypsy encampment, Lawrence learns of a curse, but before he can obtain the information he desires, the camp is attacked by a mysterious creature that leaves a horrific path of carnage in its wake and leaves Lawrence badly wounded from a bite.
Lawrence makes an amazing recovery from his wounds and in doing so raises the suspicions of the locals who now see Lawrence as cursed and a threat to their society.
Lawrence has also raised the suspicions of Scotland Yard Inspector, (Hugo Weaving) who is convinced that Lawrence may be a key player in the local horror, as he was confined to an asylum in his childhood following the death of his mother.
At first Lawrence is outraged at the accusations, but when he transforms into a deadly creature and embarks on a deadly killing spree during a full moon, he soon learns a dangerous secret that places not only his life in danger, but endangers all those around him.
In a desperate race against time, Lawrence attempts to get to the root of his troubles and set things right before the next full moon, when his animal side will take over once again.
The film is a stylish update of the original and the cast is strong. Sadly they are given little to do with the by the numbers plot, and spend much of the time looking like they are simply going through the motions which makes it difficult for the audience to develop a deep sympathy or attachment to the characters.
Oscar winner Rick Baker has done some amazing makeup work and the effects of the film are solid. It was reported that the film was delayed so Universal could punch the film up by adding some new fx and sequences.
The final result is a mixed bag as while the film is a nice update on the original, audiences have seen more so many variations of the story over the years it is hard to be surprised by anything in the picture. Despite the best efforts of the creative talent, there is little tension or drama in the film and by the time the finale plays out, many may think they have seen it all before.
Universal has released the 1941 original Lon Cheney version of the film on DVD and for those who like film history; they may gain a new insight into the film by watching the original version prior.
In the end, “The Wolfman” works as a matinee or a DVD rental, but I would not suggest it as a full priced theatrical experience for anyone other than those looking for a piece of nostalgia.
Gareth von Kallenbach (977 KP) rated The Hummingbird Project (2018) in Movies
Jul 2, 2019
Contemporary technology drama comes to the silver screen in the form of The Hummingbird Project starring Jesse Eisenberg, Alexander Skarsgård, and Salma Hayek. The film’s premise is realistic enough: A pair of insiders at a big Wall Street company defect to start a project for a rival firm – to built a single fiber optic connection between a stock exchange in Kansas City and the New York Stock Exchange. This was realistic enough that my lack of knowledge on the history of Wall Street’s networking had me looking up later to see if there was any truth or basis to portions of the plot. Unfortunately, I can’t seem to find anything referencing a Kansas City Stock Exchange. Unless they were referring to livestock? Because there was a Kansas City Livestock Exchange. Anyway, my biases up front – despite my clear lacking of aforementioned knowledge, I am a tech geek with experience in networking and related technology fields. So, a premise like this has a lot to attract my attention. There is admittedly much to enjoy about dramas regarding our contemporary plights in the realm of technology, because that’s where a lot of work is centered. Gone are the days of building railroads. But our internet infrastructure…
The film does a fairly good job representing the intense difficulty of such a project: it’s something like one thousand miles of straight line to run one fiber optic connection without obstruction. Most people would not think about what goes into making that into reality, which is the draw for most of the film’s conflict. I do however recognize that centering the plot on a large scale construction job of an internet cable doesn’t exactly scream excitement for most people; and this is especially true when the end goal is to shave off one millisecond from their current transaction times. Yet, this arguably ironic dynamic actually ended up being somewhat of a draw for me. Halfway through the film the question arises, “All this for just a millisecond of increased speed?” That’s the point though, and I wish the film would have delved deeper into these kinds of themes. This represents my chief criticism: all of the elements are here for a truly stellar drama but everything is explored at only a shallow or moderate depth. The characters have decent arcs, thrown some difficult challenges and curveballs to overcome, but Jesse Eisenberg’s character only briefly touches on the back-story that truly drives him, and while Alexander Skarsgård‘s character is more fully fleshed out his arc is essentially basic. I do enjoy the role reversal as one would usually expect to see Jesse Eisenberg playing the socially awkward genius programmer and Alexander Skarsgård to play the ambitious go-getter who runs the project, but they take opposite roles to great effect. The actors all do great here for the most part, including the excellent Michael Mando in a supporting role. My only complaint here is the acting dips a bit into melodrama later in the film, but this is mostly attributed to subplots that edge into the unbelievable.
Ironically Hummingbird Project works best at representing its core premise of what most would consider a mundane construction project. The actors do well, and I especially enjoy Alexander Skarsgård‘s portrayal of the lonely genius, but their underlying drama and back-stories are a bit of a mixed bag. Some of it works decently well while other elements do not – particularly late in the film. Sadly the themes at play are a bit too obvious and underexplored, but it is an appreciated attempt to represent a seldom explored aspect of contemporary industry.
The film does a fairly good job representing the intense difficulty of such a project: it’s something like one thousand miles of straight line to run one fiber optic connection without obstruction. Most people would not think about what goes into making that into reality, which is the draw for most of the film’s conflict. I do however recognize that centering the plot on a large scale construction job of an internet cable doesn’t exactly scream excitement for most people; and this is especially true when the end goal is to shave off one millisecond from their current transaction times. Yet, this arguably ironic dynamic actually ended up being somewhat of a draw for me. Halfway through the film the question arises, “All this for just a millisecond of increased speed?” That’s the point though, and I wish the film would have delved deeper into these kinds of themes. This represents my chief criticism: all of the elements are here for a truly stellar drama but everything is explored at only a shallow or moderate depth. The characters have decent arcs, thrown some difficult challenges and curveballs to overcome, but Jesse Eisenberg’s character only briefly touches on the back-story that truly drives him, and while Alexander Skarsgård‘s character is more fully fleshed out his arc is essentially basic. I do enjoy the role reversal as one would usually expect to see Jesse Eisenberg playing the socially awkward genius programmer and Alexander Skarsgård to play the ambitious go-getter who runs the project, but they take opposite roles to great effect. The actors all do great here for the most part, including the excellent Michael Mando in a supporting role. My only complaint here is the acting dips a bit into melodrama later in the film, but this is mostly attributed to subplots that edge into the unbelievable.
Ironically Hummingbird Project works best at representing its core premise of what most would consider a mundane construction project. The actors do well, and I especially enjoy Alexander Skarsgård‘s portrayal of the lonely genius, but their underlying drama and back-stories are a bit of a mixed bag. Some of it works decently well while other elements do not – particularly late in the film. Sadly the themes at play are a bit too obvious and underexplored, but it is an appreciated attempt to represent a seldom explored aspect of contemporary industry.
Darren (1599 KP) rated Dumbo (2019) in Movies
Nov 30, 2019
Verdict: Charming
Story: Dumbo starts when Holt Farrier (Farrell) returns from war, to re-join the circus run by Max Medici (DeVito) where his kids Milly (Parker) and Joe (Hobbins) have been living and working for years, Holt has come back injured, with the only job offered to him, being cleaning up after the elephants, one of which is pregnant giving birth to an elephant with giant ears, which only causes chaos on his debut in the circus.
After Dumbo’s mother is taken away, he is left alone, while the children learn about his flying skills, which turns Max’s circus into the talk of the country, attracting V. A. Vandevere (Keaton) who wants to offer Max the world for Dumbo.
Thoughts on Dumbo
Characters – Holt Farrier is a war veteran widow that has returned to his children in a circus. He has been suffering with his time away, this has seen him not show as much affection as his wife would have, he takes the only job he can get which sees him training and cleaning up the elephants, his time back in the circus does bring him back to his kids, where he learns how important life still can be. V. A. Vandevere is the operator of Dreamland, he sales the idea of a better life for the whole troop, even if he has his own ideas to just make himself rich. Max Medici runs the small circus that discovers Dumbo’s talent, he has always been in the game for the money and can’t resist the idea of money when Vandevere arrives but must learn there is more to his life than money. Colette Marchant is the star performer in Vandevere show, she has been for years though she is just the hottest thing he has going for a while, she doe solve to perform. Dumbo is the baby elephant with giant eyes, who loses his mother, but has the incredible ability to fly, drawing crowds from miles.
Performances – Colin Farrell gives us a wonderful performance as the caring veteran who has been struggling with his own problems once returning from war. Michael Keaton enjoy the villainous role, while Danny DeVito is shows the desperation while still bringing the heart needing for the role, Eva Green shines to as the beautiful performer too.
Story – The story here shows how a small circus that finds themselves with a star attraction in Dumbo, which sees them become a success that the whole country wants to see. The story might focus on Dumbo being forced into performing after having his mother taken away, while deeper down we get to see a family that has been broken from death and war, needing to come back together. We see themes of greed with the circus masters at times, but all together the ideas behind everything all shine through to show that people who do good will get what they deserve in life.
Adventure/Fantasy – The adventure shows the how Dumbo comes into the world and put through traumas at a young age before finding his feet and learn that some people are good in life, with the fantasy of an elephant that can fly being the highlight of what makes Dumbo so special.
Settings – The film uses the settings to show the different sizes of circus that we see Dumbo being part of.
Special Effects – The effects in the film are brilliant bringing Dumbo to life like nothing we could have imagined.
Scene of the Movie – The Dumbo flight.
That Moment That Annoyed Me – It does spend too much time telling Milly she can’t follow her scientist dreams.
Final Thoughts – This is the best live action Disney film of 2019, it brings the scale of the idea to life, which looks wonderful and has great performances too.
Overall: Beautiful Fantasy Film.
Story: Dumbo starts when Holt Farrier (Farrell) returns from war, to re-join the circus run by Max Medici (DeVito) where his kids Milly (Parker) and Joe (Hobbins) have been living and working for years, Holt has come back injured, with the only job offered to him, being cleaning up after the elephants, one of which is pregnant giving birth to an elephant with giant ears, which only causes chaos on his debut in the circus.
After Dumbo’s mother is taken away, he is left alone, while the children learn about his flying skills, which turns Max’s circus into the talk of the country, attracting V. A. Vandevere (Keaton) who wants to offer Max the world for Dumbo.
Thoughts on Dumbo
Characters – Holt Farrier is a war veteran widow that has returned to his children in a circus. He has been suffering with his time away, this has seen him not show as much affection as his wife would have, he takes the only job he can get which sees him training and cleaning up the elephants, his time back in the circus does bring him back to his kids, where he learns how important life still can be. V. A. Vandevere is the operator of Dreamland, he sales the idea of a better life for the whole troop, even if he has his own ideas to just make himself rich. Max Medici runs the small circus that discovers Dumbo’s talent, he has always been in the game for the money and can’t resist the idea of money when Vandevere arrives but must learn there is more to his life than money. Colette Marchant is the star performer in Vandevere show, she has been for years though she is just the hottest thing he has going for a while, she doe solve to perform. Dumbo is the baby elephant with giant eyes, who loses his mother, but has the incredible ability to fly, drawing crowds from miles.
Performances – Colin Farrell gives us a wonderful performance as the caring veteran who has been struggling with his own problems once returning from war. Michael Keaton enjoy the villainous role, while Danny DeVito is shows the desperation while still bringing the heart needing for the role, Eva Green shines to as the beautiful performer too.
Story – The story here shows how a small circus that finds themselves with a star attraction in Dumbo, which sees them become a success that the whole country wants to see. The story might focus on Dumbo being forced into performing after having his mother taken away, while deeper down we get to see a family that has been broken from death and war, needing to come back together. We see themes of greed with the circus masters at times, but all together the ideas behind everything all shine through to show that people who do good will get what they deserve in life.
Adventure/Fantasy – The adventure shows the how Dumbo comes into the world and put through traumas at a young age before finding his feet and learn that some people are good in life, with the fantasy of an elephant that can fly being the highlight of what makes Dumbo so special.
Settings – The film uses the settings to show the different sizes of circus that we see Dumbo being part of.
Special Effects – The effects in the film are brilliant bringing Dumbo to life like nothing we could have imagined.
Scene of the Movie – The Dumbo flight.
That Moment That Annoyed Me – It does spend too much time telling Milly she can’t follow her scientist dreams.
Final Thoughts – This is the best live action Disney film of 2019, it brings the scale of the idea to life, which looks wonderful and has great performances too.
Overall: Beautiful Fantasy Film.