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Death on the Nile (2022)
6.3
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While on vacation on the Nile, Hercule Poirot must investigate the murder of a young heiress.
Charlie Cobra Reviews (1840 KP) rated I Am Mother (2019) in Movies
Jul 7, 2020
Intriguing and Intense
I Am Mother is a 2019 sci-fi/thriller movie directed by Grant Sputore, with screenplay written by Michael Lloyd Green. It was produced by Penguin Empire, Southern Light Films, Mister Smith Entertainment and Endeavor Content and distributed by Netflix and Studio Canal. The film stars Luke Hawker, Clara Ruggard, Rose Byrne, and Hilary Swank.
A robot named "Mother" grows a human embryo and cares for her over several years when after an extinction event, an automated bunker activates to repopulate humanity. Mother teaches a teenage girl named "Daughter" complex moral and ethical lessons advising her that she needs practice being a good parent. Daughter captures a mouse but Mother disposes of it and explains that surface contamination with the outside world makes contact potentially lethal. Their bond is tested when Daughter becomes increasingly curious about the outside world and opens the bunker's airlock to let in a wounded woman begging for help and claims all is not as Mother claims.
This movie was awesome, classic sci-fi but with great acting and special effects. I like how suspenseful it was and how it told such a compelling story. It had me paying attention to every detail and trying to predict how it was going to unravel plot wise and though some parts I could see coming, it threw a couple of curve balls here and there. There wasn't a lot to complain about other than some people saying it revealed too much a little too soon and that it was a slow paced film. I just really like the way it played out, with one of those classic, sci-fi, artificial intelligence concepts. I give this movie a 8/10. And I also give it my "Must See Seal of Approval".
A robot named "Mother" grows a human embryo and cares for her over several years when after an extinction event, an automated bunker activates to repopulate humanity. Mother teaches a teenage girl named "Daughter" complex moral and ethical lessons advising her that she needs practice being a good parent. Daughter captures a mouse but Mother disposes of it and explains that surface contamination with the outside world makes contact potentially lethal. Their bond is tested when Daughter becomes increasingly curious about the outside world and opens the bunker's airlock to let in a wounded woman begging for help and claims all is not as Mother claims.
This movie was awesome, classic sci-fi but with great acting and special effects. I like how suspenseful it was and how it told such a compelling story. It had me paying attention to every detail and trying to predict how it was going to unravel plot wise and though some parts I could see coming, it threw a couple of curve balls here and there. There wasn't a lot to complain about other than some people saying it revealed too much a little too soon and that it was a slow paced film. I just really like the way it played out, with one of those classic, sci-fi, artificial intelligence concepts. I give this movie a 8/10. And I also give it my "Must See Seal of Approval".
Mothergamer (1511 KP) rated The Green Hornet (2011) in Movies
Apr 3, 2019
I don't even have the words for how infuriated I am right now with The Green Hornet film. There's a small part of me that wishes I could just throw a brick at Seth Rogen's crotch right now, because he absolutely deserves it along with director Michael Gondry. That's right, the director of the film Eternal Sunshine Of The Spotless Mind which to me was a good movie is responsible for this equally terrible movie.
I do feel much of the blame lies with the fact that Seth Rogen co-wrote this screenplay and he claimed that he was so glad he didn't screw up one of his favorite childhood heroes. Seth, Seth, Seth....tsk tsk, someone's a dirty rotten liar Seth. Why must you constantly lie to us Seth? The truth is you messed up completely! In the original radio show, comics, and T.V. Show Britt Reid wasn't a moron. He was a smart successful newspaper publisher, he was confident, and he could fight well alongside his equally confident sidekick Kato. I loved the T.V. show and I loved the comic. I loved watching The Green Hornet on Kung Fu Saturday when I was a kid. That was the highlight of my Saturday. I would watch a couple of episodes of The Green Hornet and then watch the featured kung fu film. That's a sacred childhood memory and you, Seth Rogen along with your director have pissed all over it.
Not only did you make Britt Reid a total jerk, you made him stupid too! He loosely based Britt Reid on Paris Hilton? Are you kidding me with this nonsense?
Seth Rogen's Britt Reid is a spoiled rich brat who shows no interest in running the newspaper, but he instead becomes buddies with Kato his mechanic and coffee maker. I felt bad for Jay Chou because he's no Bruce Lee, but he did alright in spite of Seth Rogen constantly hyperventilating and shouting in every scene. He tried, he really did. Cameron Diaz's role as Reid's secretary Lenore Case is completely useless. She's basically camera filler with a great smile.
Of course, The Green Hornet has to have a villain and that is Christoph Waltz (Oscar winner from Inglorious Basterds) as Chudnofsky, but there is no depth to the character which proves bad writing is bad writing. Now I like action scenes as much as the next person, but it's as if Seth Rogen got bored and just added as much action as possible as filler rather than having an actual plot that tells the story. There's also so much pointless dialogue, watching this train wreck of a film is like being stuck in a dentist's chair having a root canal with no anesthesia. Yes, it's that damn bad. Not even the overpriced 3-D could save this film. That is just a gimmick to get more money out of people and this film proved that point real quick.
There is so much that could have been done to make this film version of the T.V. show great, but none of it was done. Instead, we get a film that is so terrible with no plot at all, a fake Britt Reid (I don't care what you say Rogen, that character you played was NOT Britt Reid! You are a liar sir!), a subdued Kato that got overshadowed by the crazy rich brat, a useless vapid secretary, and a villain that's about as threatening as a labradoodle. Seth Rogen and Michale Gondry you should be ashamed and embarrassed that your names are on this piece of trash.
Don't waste your money on this folks and certainly don't waste it on 3-D. The original is better and I'm sure that Mr. Rogen's going to have several bricks thrown at his crotch for even writing this awful screenplay. Just please, do us a favor and go sit in the corner with M. Night Shyamalan and quit making movies, because you really screwed the pooch on this one pal.
I do feel much of the blame lies with the fact that Seth Rogen co-wrote this screenplay and he claimed that he was so glad he didn't screw up one of his favorite childhood heroes. Seth, Seth, Seth....tsk tsk, someone's a dirty rotten liar Seth. Why must you constantly lie to us Seth? The truth is you messed up completely! In the original radio show, comics, and T.V. Show Britt Reid wasn't a moron. He was a smart successful newspaper publisher, he was confident, and he could fight well alongside his equally confident sidekick Kato. I loved the T.V. show and I loved the comic. I loved watching The Green Hornet on Kung Fu Saturday when I was a kid. That was the highlight of my Saturday. I would watch a couple of episodes of The Green Hornet and then watch the featured kung fu film. That's a sacred childhood memory and you, Seth Rogen along with your director have pissed all over it.
Not only did you make Britt Reid a total jerk, you made him stupid too! He loosely based Britt Reid on Paris Hilton? Are you kidding me with this nonsense?
Seth Rogen's Britt Reid is a spoiled rich brat who shows no interest in running the newspaper, but he instead becomes buddies with Kato his mechanic and coffee maker. I felt bad for Jay Chou because he's no Bruce Lee, but he did alright in spite of Seth Rogen constantly hyperventilating and shouting in every scene. He tried, he really did. Cameron Diaz's role as Reid's secretary Lenore Case is completely useless. She's basically camera filler with a great smile.
Of course, The Green Hornet has to have a villain and that is Christoph Waltz (Oscar winner from Inglorious Basterds) as Chudnofsky, but there is no depth to the character which proves bad writing is bad writing. Now I like action scenes as much as the next person, but it's as if Seth Rogen got bored and just added as much action as possible as filler rather than having an actual plot that tells the story. There's also so much pointless dialogue, watching this train wreck of a film is like being stuck in a dentist's chair having a root canal with no anesthesia. Yes, it's that damn bad. Not even the overpriced 3-D could save this film. That is just a gimmick to get more money out of people and this film proved that point real quick.
There is so much that could have been done to make this film version of the T.V. show great, but none of it was done. Instead, we get a film that is so terrible with no plot at all, a fake Britt Reid (I don't care what you say Rogen, that character you played was NOT Britt Reid! You are a liar sir!), a subdued Kato that got overshadowed by the crazy rich brat, a useless vapid secretary, and a villain that's about as threatening as a labradoodle. Seth Rogen and Michale Gondry you should be ashamed and embarrassed that your names are on this piece of trash.
Don't waste your money on this folks and certainly don't waste it on 3-D. The original is better and I'm sure that Mr. Rogen's going to have several bricks thrown at his crotch for even writing this awful screenplay. Just please, do us a favor and go sit in the corner with M. Night Shyamalan and quit making movies, because you really screwed the pooch on this one pal.
Matthew Krueger (10051 KP) rated Clue (1985) in Movies
Nov 3, 2020
The Multiple Endings (2 more)
The Cast
The Humor
All Time Favorites
Ive seen Clue about nine times now and it has become a tradition to watch Clue every October. I remember watching clue the first time and i laughed my ass off and i still do that. The humor is excellent, the cast is excellent, the multiple endings are excellent. Everything about Clue is excellent.
The plot: Based on the popular board game, this comedy begins at a dinner party hosted by Mr. Boddy (Lee Ving), where he admits to blackmailing his visitors. These guests, who have been given aliases, are Mrs. Peacock (Eileen Brennan), Miss Scarlet (Lesley Ann Warren), Mr. Green (Michael McKean), professor Plum (Christopher Lloyd), Mrs. White (Madeline Kahn) and Col. Mustard (Martin Mull). When Boddy turns up murdered, all are suspects, and together they try to figure out who is the killer.
The film was produced by Debra Hill and the story was by John Landis.
In keeping with the nature of the board game, the theatrical release included three possible endings, with different theaters receiving one of the three endings. In the film's home video release, all three endings were included.
The multiple-ending concept was developed by John Landis, who claimed in an interview to have invited playwright Tom Stoppard, writer and composer Stephen Sondheim, and actor Anthony Perkins to write the screenplay. The script was ultimately finished by director Jonathan Lynn.
A fourth ending was filmed, but Lynn removed it because as he later stated, "It really wasn't very good. I looked at it, and I thought, 'No, no, no, we've got to get rid of that.'" In the unused fourth ending, Wadsworth committed all of the murders. He was motivated by his desire for perfection. Having failed to be either the perfect husband or the perfect butler, he decided to be the perfect murderer instead. Wadsworth reports that he poisoned the champagne the guests had drunk earlier so they would soon die, leaving no witnesses. The police and the FBI arrive and Wadsworth is arrested. He breaks free and steals a police car, but his escape is thwarted when three police dogs lunge from the back seat. This ending is documented in Clue: The Storybook, a tie-in book released in conjunction with the film.
Carrie Fisher was originally contracted to portray Miss Scarlet, but withdrew to enter treatment for drug and alcohol addiction. Jonathan Lynn's first choice for the role of Wadsworth was Leonard Rossiter, but he died before filming commenced. The second choice was Rowan Atkinson, but it was decided that he wasn't well known enough at the time, so Tim Curry was eventually cast.
Mrs. White's famous "Flames" speech was improvised by Madeline Kahn.
A documentary about the movie is being made, including interviews already filmed with the director, writer, and several cast members including Lesley Ann Warren, Michael McKean, Colleen Camp, and Lee Ving.
I love Clue, it is one of my all time favorite films. In my top ten best films of all time at number #3 and just excellent.
Happy Halloween everybody.
The plot: Based on the popular board game, this comedy begins at a dinner party hosted by Mr. Boddy (Lee Ving), where he admits to blackmailing his visitors. These guests, who have been given aliases, are Mrs. Peacock (Eileen Brennan), Miss Scarlet (Lesley Ann Warren), Mr. Green (Michael McKean), professor Plum (Christopher Lloyd), Mrs. White (Madeline Kahn) and Col. Mustard (Martin Mull). When Boddy turns up murdered, all are suspects, and together they try to figure out who is the killer.
The film was produced by Debra Hill and the story was by John Landis.
In keeping with the nature of the board game, the theatrical release included three possible endings, with different theaters receiving one of the three endings. In the film's home video release, all three endings were included.
The multiple-ending concept was developed by John Landis, who claimed in an interview to have invited playwright Tom Stoppard, writer and composer Stephen Sondheim, and actor Anthony Perkins to write the screenplay. The script was ultimately finished by director Jonathan Lynn.
A fourth ending was filmed, but Lynn removed it because as he later stated, "It really wasn't very good. I looked at it, and I thought, 'No, no, no, we've got to get rid of that.'" In the unused fourth ending, Wadsworth committed all of the murders. He was motivated by his desire for perfection. Having failed to be either the perfect husband or the perfect butler, he decided to be the perfect murderer instead. Wadsworth reports that he poisoned the champagne the guests had drunk earlier so they would soon die, leaving no witnesses. The police and the FBI arrive and Wadsworth is arrested. He breaks free and steals a police car, but his escape is thwarted when three police dogs lunge from the back seat. This ending is documented in Clue: The Storybook, a tie-in book released in conjunction with the film.
Carrie Fisher was originally contracted to portray Miss Scarlet, but withdrew to enter treatment for drug and alcohol addiction. Jonathan Lynn's first choice for the role of Wadsworth was Leonard Rossiter, but he died before filming commenced. The second choice was Rowan Atkinson, but it was decided that he wasn't well known enough at the time, so Tim Curry was eventually cast.
Mrs. White's famous "Flames" speech was improvised by Madeline Kahn.
A documentary about the movie is being made, including interviews already filmed with the director, writer, and several cast members including Lesley Ann Warren, Michael McKean, Colleen Camp, and Lee Ving.
I love Clue, it is one of my all time favorite films. In my top ten best films of all time at number #3 and just excellent.
Happy Halloween everybody.
BankofMarquis (1832 KP) rated Death on the Nile (2022) in Movies
Mar 16, 2022
Well Done
The old adage “they don’t make movies like this anymore” is no truer than when one is speaking about large budget, big name cast murder mysteries and with what must surely be a disappointing box office for DEATH ON THE NILE, they just might not try again.
And that is too bad for the latest Kenneth Branagh Hercule Poirot mystery DEATH ON THE NILE with Branagh starring, again, as the great Agatha Christie Belgian Detective is the stuff that makes going to movies fun - big characters, major stars, gorgeous scenery and a plot that will keep one guessing until the end.
Branagh’s previous work as Director and star of MURDER OF THE ORIENT EXPRESS was a bit of a disappointment as it was gorgeous and well cast - but the pacing of the film dragged and Branagh decided, inexplicably, to add an action scene to a drawing room mystery.
In DEATH ON THE NILE, Branagh (who Directed this film from an screenplay by Michael Green who adapted the Agatha Christie novel), corrected these mistakes and the film moves along spritely with the actors chewing the scenery - but quickly - making this a very enjoyable movie-going experience.
Branagh, in his second go-around as Poirot, seems much more relaxed and comfortable with his character. This is, perhaps, because they add a backstory to Poirot, so he has much more to set his character upon. On the surface, purists of the the Agatha Christie character will blanche at the thought of adding a backstory, but I’ll be darned if it doesn’t work and adds a layer of depth to the character and the film that I wasn’t expecting.
The All-Star cast knows what type of film they are in - and what is expected of them - and they deliver. Gal Gadot, Armie Hammmer, Rose Leslie, Letitia Wright, Jennifer Saunders, Sophie Okonedo and, surprisingly, Russell Brand all shine brightly in their “moment” that their character gets with Poirot. Special notice needs to be made of Annette Bening’s performance. It was GREAT to see this wonderful actress get a role she could sink her teeth into.
As always, with this type of film, the settings and costumes take a prominent position and they do not disappoint. Cinematographer Haris Zambarloukos should be hired by the Egyptian Chamber of Commerce for he lovingly shows the sites along the Nile River (circa ‘1930’s) in a beautiful poetic way while the Costumes by Pago Delgado are gorgeous and ornate - without being over-the-top.
If you get a chance to see DEATH ON THE NILE on the big screen, do so, you will be well rewarded for your efforts - and just might help get another of these big budget, big star mysteries made. If not, make sure to check this film out when it starts streaming near you - it’s a ton of fun.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
And that is too bad for the latest Kenneth Branagh Hercule Poirot mystery DEATH ON THE NILE with Branagh starring, again, as the great Agatha Christie Belgian Detective is the stuff that makes going to movies fun - big characters, major stars, gorgeous scenery and a plot that will keep one guessing until the end.
Branagh’s previous work as Director and star of MURDER OF THE ORIENT EXPRESS was a bit of a disappointment as it was gorgeous and well cast - but the pacing of the film dragged and Branagh decided, inexplicably, to add an action scene to a drawing room mystery.
In DEATH ON THE NILE, Branagh (who Directed this film from an screenplay by Michael Green who adapted the Agatha Christie novel), corrected these mistakes and the film moves along spritely with the actors chewing the scenery - but quickly - making this a very enjoyable movie-going experience.
Branagh, in his second go-around as Poirot, seems much more relaxed and comfortable with his character. This is, perhaps, because they add a backstory to Poirot, so he has much more to set his character upon. On the surface, purists of the the Agatha Christie character will blanche at the thought of adding a backstory, but I’ll be darned if it doesn’t work and adds a layer of depth to the character and the film that I wasn’t expecting.
The All-Star cast knows what type of film they are in - and what is expected of them - and they deliver. Gal Gadot, Armie Hammmer, Rose Leslie, Letitia Wright, Jennifer Saunders, Sophie Okonedo and, surprisingly, Russell Brand all shine brightly in their “moment” that their character gets with Poirot. Special notice needs to be made of Annette Bening’s performance. It was GREAT to see this wonderful actress get a role she could sink her teeth into.
As always, with this type of film, the settings and costumes take a prominent position and they do not disappoint. Cinematographer Haris Zambarloukos should be hired by the Egyptian Chamber of Commerce for he lovingly shows the sites along the Nile River (circa ‘1930’s) in a beautiful poetic way while the Costumes by Pago Delgado are gorgeous and ornate - without being over-the-top.
If you get a chance to see DEATH ON THE NILE on the big screen, do so, you will be well rewarded for your efforts - and just might help get another of these big budget, big star mysteries made. If not, make sure to check this film out when it starts streaming near you - it’s a ton of fun.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated Murder on the Orient Express (2017) in Movies
Sep 29, 2021
You’ll never guess who dunnit…
There’s a big problem with Kenneth Branagh’s 2017 filming of the Hercule Poirot-based murder mystery…. and that’s the 1974 Sidney Lumet classic featuring Albert Finney in the starring role. For that film was so memorable – at least, the “who” of the “whodunnit” (no spoilers here) was so memorable – that any remake is likely to be tarnished by that knowledge. If you go into this film blissfully unaware of the plot, you are a lucky man/woman. For this is a classic Agatha Christie yarn.
The irascible, borderline OCD, but undeniably great Belgian detective, Poirot, is dragged around the world by grateful police forces to help solve unsolvable crimes. After solving a case in Jerusalem, Poirot is called back to the UK with his mode of transport being the famous Orient Express. Trapped in the mountains by an avalanche, a murder is committed and with multiple suspects and a plethora of clues it is up to Poirot to solve the case.
Branagh enjoys himself enormously as Poirot, sporting the most distractingly magnificent facial hair since Daniel Day-Lewis in “The Gangs of New York”. The moustache must have had its own trailer and make-up team!
Above all, the film is glorious to look at, featuring a rich and exotic colour palette that is reminiscent of the early colour films of the 40’s. Cinematography was by Haris Zambarloukos (“Mamma Mia” and who also collaborated with Branagh on “Thor) with lots of innovative “ceiling down” shots and artful point-of-view takes that might be annoying to some but which I consider as deserving of Oscar/BAFTA nominations.
The pictures are accompanied by a lush score by Patrick Doyle (who also scored Branagh’s “Thor”). Hats off also to the special effects crew, who made the alpine bridge scenes look decidedly more alpine than where they were actually filmed (on a specially made bridge in the Surrey Hills!).
All these technical elements combine to make the film’s early stages look and feel truly epic.
And the cast… what a cast! Dame Judi Dench (“Victoria and Abdul“); Olivia Coleman (“The Lobster“); Johnny Depp (“Black Mass“); Daisy Ridley (“Star Wars: The Force Awakens“); Penélope Cruz (“Zoolander 2“); Josh Gad (Olaf!); Derek Jacobi (“I, Claudius”); Willem Dafoe (“The Great Wall“) and Michelle Pfeiffer (“mother!“). A real case again of an “oh, it’s you” film again at the cinema – when’s the last time we saw that?
It’s also great to see young Lucy Boynton, so magnificent in last year’s excellent “Sing Street“, getting an A-list role as the twitchy and disturbed countess.
With all these ingredients in the pot, it should be great, right? Unfortunately, in my view, no, not quite. The film’s opening momentum is really not maintained by the screenplay by Michael Green (“Blade Runner 2049“; “Logan“). At heart, it’s a fairly static and “stagey” piece at best, set as it is on the rather claustrophobic train (just three carriages… on the Orient Express… really?). But the tale is made even more static by the train’s derailment in the snow. Branagh and Green try to sex up the action where they can, but there are lengthy passages of fairly repetitive dialogue. One encounter in particular between Branagh and Depp seems to last interminably: you wonder if the problem was that the director wasn’t always looking on to yell “Cut”!
All this leads to the “revelation” of the murderer as being a bit of an anticlimactic “thank heavens for that” rather than the gasping denouement it should have been. (Perhaps this would be different if you didn’t know the twist).
However, these reservations aside, it’s an enjoyable night out at the flicks, although a bit of a disappointment from the level of expectation I had for it. I can’t be too grumpy about it, given it’s a return to good old-fashioned yarn-spinning at the cinema, with great visuals and an epic cast. And that has to be good news.
For sure, Branagh does make for an amusing and engaging Poirot, even if his dialogue did need some ‘tuning in’ to. There was a suggestion at the end of the film that we might be seeing his return in “Death on the Nile” – the most lush and decorous of Peter Ustinov’s outings – which I would certainly welcome. He will have to find another 10 A-list stars though to decorate the boat, which will be a challenge for casting!
The irascible, borderline OCD, but undeniably great Belgian detective, Poirot, is dragged around the world by grateful police forces to help solve unsolvable crimes. After solving a case in Jerusalem, Poirot is called back to the UK with his mode of transport being the famous Orient Express. Trapped in the mountains by an avalanche, a murder is committed and with multiple suspects and a plethora of clues it is up to Poirot to solve the case.
Branagh enjoys himself enormously as Poirot, sporting the most distractingly magnificent facial hair since Daniel Day-Lewis in “The Gangs of New York”. The moustache must have had its own trailer and make-up team!
Above all, the film is glorious to look at, featuring a rich and exotic colour palette that is reminiscent of the early colour films of the 40’s. Cinematography was by Haris Zambarloukos (“Mamma Mia” and who also collaborated with Branagh on “Thor) with lots of innovative “ceiling down” shots and artful point-of-view takes that might be annoying to some but which I consider as deserving of Oscar/BAFTA nominations.
The pictures are accompanied by a lush score by Patrick Doyle (who also scored Branagh’s “Thor”). Hats off also to the special effects crew, who made the alpine bridge scenes look decidedly more alpine than where they were actually filmed (on a specially made bridge in the Surrey Hills!).
All these technical elements combine to make the film’s early stages look and feel truly epic.
And the cast… what a cast! Dame Judi Dench (“Victoria and Abdul“); Olivia Coleman (“The Lobster“); Johnny Depp (“Black Mass“); Daisy Ridley (“Star Wars: The Force Awakens“); Penélope Cruz (“Zoolander 2“); Josh Gad (Olaf!); Derek Jacobi (“I, Claudius”); Willem Dafoe (“The Great Wall“) and Michelle Pfeiffer (“mother!“). A real case again of an “oh, it’s you” film again at the cinema – when’s the last time we saw that?
It’s also great to see young Lucy Boynton, so magnificent in last year’s excellent “Sing Street“, getting an A-list role as the twitchy and disturbed countess.
With all these ingredients in the pot, it should be great, right? Unfortunately, in my view, no, not quite. The film’s opening momentum is really not maintained by the screenplay by Michael Green (“Blade Runner 2049“; “Logan“). At heart, it’s a fairly static and “stagey” piece at best, set as it is on the rather claustrophobic train (just three carriages… on the Orient Express… really?). But the tale is made even more static by the train’s derailment in the snow. Branagh and Green try to sex up the action where they can, but there are lengthy passages of fairly repetitive dialogue. One encounter in particular between Branagh and Depp seems to last interminably: you wonder if the problem was that the director wasn’t always looking on to yell “Cut”!
All this leads to the “revelation” of the murderer as being a bit of an anticlimactic “thank heavens for that” rather than the gasping denouement it should have been. (Perhaps this would be different if you didn’t know the twist).
However, these reservations aside, it’s an enjoyable night out at the flicks, although a bit of a disappointment from the level of expectation I had for it. I can’t be too grumpy about it, given it’s a return to good old-fashioned yarn-spinning at the cinema, with great visuals and an epic cast. And that has to be good news.
For sure, Branagh does make for an amusing and engaging Poirot, even if his dialogue did need some ‘tuning in’ to. There was a suggestion at the end of the film that we might be seeing his return in “Death on the Nile” – the most lush and decorous of Peter Ustinov’s outings – which I would certainly welcome. He will have to find another 10 A-list stars though to decorate the boat, which will be a challenge for casting!
Bob Mann (459 KP) rated Alien: Covenant (2017) in Movies
Sep 29, 2021
Horrific Beasts and How to Avoid Them.
I seem to be in a bit of a minority in quite liking Ridley Scott’s last Alien outing – 2012’s “Prometheus”: a heady, if at times ponderous, theory to the origins of man. The first hour of that film is really good. But for me, what made the original 1979 film so enthralling was the life cycle of the ‘traditional’ Xenomorph aliens through egg to evil hatchling to vicious killing machine. This somewhat got lost with “Prometheus” with a range of alien-like-things ranging from wiggly black goo to something more familiar… and frankly I was confused. Some – repeat, some – of the explanation for that diversity of forms in “Prometheus” is made clearer in the sequel “Alien: Covenant”.
“Covenant” (named again after the spaceship at its heart) is a follow-on sequel to “Prometheus”, so it is worth re-watching it if you can before a cinema trip. At the end of that film we saw Elizabeth Shaw (Noomi Rapace, “The Girl with the Dragon Tattoo”) and a reconstructed android David (Michael Fassbender, “Steve Jobs“) flying off in an alien craft still loaded with its cargo of nasty alien black goo. Shaw had a mission to seek out The Engineer’s home world – named “Paradise” – to find out why after creating man they were intent on going back to finish them off with a WMD. A neat prologue has been released which documents this… here:
We pick up the action 10 years later in a totally improbable 2104. (Give us a break writing team! [Story by Jack Paglen and Michael Green; screenplay by John Logan and Dante Harper]. We know they won’t have got through planning permission on the third Heathrow runway by then, let alone invented interplanetary travel…! 2504, maybe!)
Daniels (Katherine Waterston, “Fantastic Beasts And Where To Find Them“) has just suffered a sudden bereavement (an uncredited James Franco – – blink and you’ll miss him). She has also been rudely awakened from hypersleep due to a sudden system mishap: no, not to find Chris Pratt there like “Passengers“, but by the ship’s android Walter (also Michael Fassbender) who’s also revived the rest of the crew. While effecting repairs they receive a garbled John Denver track mysteriously beamed to them from an earth-like planet not too far away. As this might be a suitable homestead, and as spending weeks more in hypersleep is unattractive, Captain Oram (Billy Crudup, “Spotlight“) votes to check it out, against Daniels’ strong objections. Needless to say, this proves to be a BIG MISTAKE as the new film neatly links hands with the first film.
Kick-ass… Katherine Waterston being careful not to slip in the shower.
There’s a limit to what more I can say about the film without delivering spoilers (so I have added a few more comments in the spoiler section BELOW the trailer). It’s a far more action-oriented film than “Prometheus” and has enough jump scares and gore to please most Alien fans. (In fact, it’s a surprise to me that it got a UK “15” certificate rather than an “18”: how much more violence do you need to show in the film?) A shower scene towards the end of the film is particularly effective and will likely put an end to relaxing shower sex for many people for good!
It also looks visually stunning (cinematography is by Dariusz Wolski (“The Martian“, “Pirates of the Caribbean”) with location shooting in Milford Sound in New Zealand. The special effects are also a cut-above the normal CGI with a devastated Pompeii-like city, a picture of blacks and greys, being particularly effective.
In the acting stakes it is really all down to Waterston and Fassbinder. I wasn’t a great fan of Waterston in “Fantastic Beasts” – a bit insipid I thought – but here she adopts Ripley’s kick-ass mantle with ease but blends it beautifully with doe-eyed vulnerability. Some of her scenes reminded me strongly of Demi Moore in “Ghost”. Fassbinder is fascinating to watch with his dual roles of Walter and David, both slightly different versions of the same being. And the special effects around the Fassbinder-on-Fassbinder action, tending somewhat towards the homoerotic in places, are well done.
Unfortunately the rest of the crew get little in the way of background development, which limits the impact of the inevitable demises. They are also about as clinically stupid as the spaceship crew in “Life” in some of their actions; I guess you could put some of this down to the effects of panic, but in other cases you might see it as a simple cleansing of the gene pool in Darwinian fashion.
Also making uncredited guest appearances are Guy Pearce as Weyland (in a flashback scene) and Noomi Rapace.
Music is “by” Jed Kurzel, but to be honest he does little than wrap around re-versions of the original Jerry Goldsmith classics: not that this is a bad thing, since those themes are iconic and a joy to hear again on the big screen.
My expectations for this movie were sky-high, as it was hinted as a return to form for the franchise. And in many ways it was, with a “man, Gods and androids” theme adding depth to the traditional anatomical-bursting gore. But to be honest, some of the storytelling was highly predictable, and I left slightly disappointed with the overall effort. If my expectations were an 11/10, my reality was more like a 7/10. It’s still a good film, and I look forward to watching it again. But perhaps this is a franchise that has really run its course now for Mr Scott and he should look to his next “Martian”-type movie for a more novel foundation to build his next movie “log cabin on the lake” on.
“Covenant” (named again after the spaceship at its heart) is a follow-on sequel to “Prometheus”, so it is worth re-watching it if you can before a cinema trip. At the end of that film we saw Elizabeth Shaw (Noomi Rapace, “The Girl with the Dragon Tattoo”) and a reconstructed android David (Michael Fassbender, “Steve Jobs“) flying off in an alien craft still loaded with its cargo of nasty alien black goo. Shaw had a mission to seek out The Engineer’s home world – named “Paradise” – to find out why after creating man they were intent on going back to finish them off with a WMD. A neat prologue has been released which documents this… here:
We pick up the action 10 years later in a totally improbable 2104. (Give us a break writing team! [Story by Jack Paglen and Michael Green; screenplay by John Logan and Dante Harper]. We know they won’t have got through planning permission on the third Heathrow runway by then, let alone invented interplanetary travel…! 2504, maybe!)
Daniels (Katherine Waterston, “Fantastic Beasts And Where To Find Them“) has just suffered a sudden bereavement (an uncredited James Franco – – blink and you’ll miss him). She has also been rudely awakened from hypersleep due to a sudden system mishap: no, not to find Chris Pratt there like “Passengers“, but by the ship’s android Walter (also Michael Fassbender) who’s also revived the rest of the crew. While effecting repairs they receive a garbled John Denver track mysteriously beamed to them from an earth-like planet not too far away. As this might be a suitable homestead, and as spending weeks more in hypersleep is unattractive, Captain Oram (Billy Crudup, “Spotlight“) votes to check it out, against Daniels’ strong objections. Needless to say, this proves to be a BIG MISTAKE as the new film neatly links hands with the first film.
Kick-ass… Katherine Waterston being careful not to slip in the shower.
There’s a limit to what more I can say about the film without delivering spoilers (so I have added a few more comments in the spoiler section BELOW the trailer). It’s a far more action-oriented film than “Prometheus” and has enough jump scares and gore to please most Alien fans. (In fact, it’s a surprise to me that it got a UK “15” certificate rather than an “18”: how much more violence do you need to show in the film?) A shower scene towards the end of the film is particularly effective and will likely put an end to relaxing shower sex for many people for good!
It also looks visually stunning (cinematography is by Dariusz Wolski (“The Martian“, “Pirates of the Caribbean”) with location shooting in Milford Sound in New Zealand. The special effects are also a cut-above the normal CGI with a devastated Pompeii-like city, a picture of blacks and greys, being particularly effective.
In the acting stakes it is really all down to Waterston and Fassbinder. I wasn’t a great fan of Waterston in “Fantastic Beasts” – a bit insipid I thought – but here she adopts Ripley’s kick-ass mantle with ease but blends it beautifully with doe-eyed vulnerability. Some of her scenes reminded me strongly of Demi Moore in “Ghost”. Fassbinder is fascinating to watch with his dual roles of Walter and David, both slightly different versions of the same being. And the special effects around the Fassbinder-on-Fassbinder action, tending somewhat towards the homoerotic in places, are well done.
Unfortunately the rest of the crew get little in the way of background development, which limits the impact of the inevitable demises. They are also about as clinically stupid as the spaceship crew in “Life” in some of their actions; I guess you could put some of this down to the effects of panic, but in other cases you might see it as a simple cleansing of the gene pool in Darwinian fashion.
Also making uncredited guest appearances are Guy Pearce as Weyland (in a flashback scene) and Noomi Rapace.
Music is “by” Jed Kurzel, but to be honest he does little than wrap around re-versions of the original Jerry Goldsmith classics: not that this is a bad thing, since those themes are iconic and a joy to hear again on the big screen.
My expectations for this movie were sky-high, as it was hinted as a return to form for the franchise. And in many ways it was, with a “man, Gods and androids” theme adding depth to the traditional anatomical-bursting gore. But to be honest, some of the storytelling was highly predictable, and I left slightly disappointed with the overall effort. If my expectations were an 11/10, my reality was more like a 7/10. It’s still a good film, and I look forward to watching it again. But perhaps this is a franchise that has really run its course now for Mr Scott and he should look to his next “Martian”-type movie for a more novel foundation to build his next movie “log cabin on the lake” on.
Bob Mann (459 KP) rated Blade Runner 2049 (2017) in Movies
Sep 29, 2021
A stunning visual triumph.
I was a sufficient nerd to buy a “Back to the Future” T-shirt to celebrate “future day” from “Back to the Future 2” two-years ago, and I will probably be a sufficient nerd to buy a “Blade Runner” T-shirt in two-years time to celebrate the setting-date for the original film. One thing’s for sure… 2049 is never going to be long enough away to see the world of the new Blade Runner movie come to fruition: so I look forward to ironically buying that T-shirt too (assuming I make it to 88!). But I digress.
I lived in fear of this film since it was announced… having loved the original, a sequel was always going to be a risky prospect. But my fears were slightly quelled when I learned that Denis Villeneuve (“Arrival“) was at the helm. And having now seen it I am pleasantly relieved: this is a memorable film.
In 2049 the first-generation Nexus replicants of the original film are still causing problems, and Ryan Gosling is ‘K’ – a blade runner employed by LAPD lieutenant Joshi (Robin Wright, “Wonder Woman“, “House of Cards”) to track them down and liquidate them. On one of these missions, K uncovers a buried secret that brings the LAPD into a desperate race for a pivotal prize, against replicant-builder Niander Wallace (Jared Leto, “Dallas Buyer’s Club“) and his henchwoman Luv (Sylvia Hoeks). The mission leads to K searching out his illustrious predecessor Deckard (Harrison Ford), who is not keen to be found.
Firstly (and most impressively) this is a spectacle to watch…. “I’ve seen things…”! The visuals are just gorgeous, from the junk-yards of Greater Los Angeles to the radioactive ruins of Las Vegas, vividly glowing amber to glorious effect. Hardly a surprise with Roger Deakins (“Hail Caesar“, “Sicario“) behind the camera, but Adam Heinis (“Rogue One“) and the rest of his special effects team deserve kudos for the effects never feeling overly “CGI-like”.
The music (by Benjamin Wallfisch and Hans Zimmer, via a replaced Johann Johannsson) pays suitable tribute to the spirit of the original Vangelis soundtrack. (It’s curious though that “Tears in the Rain” from the soundtrack is a reworking of the Vangelis original, but Vangelis doesn’t seem to be credited anywhere! Vangelis and Ridley Scott clearly had a SERIOUS falling out!).
On the acting front, Ryan Gosling is his dynamic self as usual! (But here, somewhat justified). Harrison Ford is given very little screen time, but what he does do he does exceptionally well – his best performance in years. It’s some of the supporting parts though that really appeal: Dave Bautista (“Spectre“) is just superb in the opening scenes of the film, and I particularly enjoyed Ana de Armas’s portrayal of K’s holographic girlfriend Joi. I’ve seen comment in other reviews that described this relationship as “laughable” and a downward step for “woman’s rights” compared to Villeneuve’s previous strong female characters (of Louise from “Arrival” and Kate from “Sicario“). But I disagree! I found the relationship truly touching, with Joi’s procurement of a prostitute (Mackenzie Davis) to act as a surrogate body being both loving and giving. And as regards ‘woman’s rights’, come on! Get serious! This is a holographic commercial male companion…. the “Alexa” of the future…. I’m quite sure the male version looks like Ryan Reynolds! Sex still sells, even in 2049!!
My favourite character though was a cameo by Barkhad Abdi (“Captain Phillips“) luxoriating under the name of Doctor Badger!
I was less comfortable with Jared Leto’s dialogue which – for me at least – was barely audible. In general this film is both a challenge for those aurally challenged (with some fuzzy dialogue/effects/music mixes) and those visually challenged (with 8 point font for the on-screen text that was almost impossible to see on the cinema screen, so good luck with the DVD!).
I really wanted to give this film 5-Fads. But I can’t quite get there. The story – while interesting and having emotional depth – is lightweight for a film of this length (a butt-numbing 163 minutes!) and it moves at such a glacial pace that I’m ashamed to say that my mind wandered at times. (Specifically to how many different ways I could imagine harm being done to the American guy in front of me, who was constantly turning on his Apple watch and at one point (to whisperings of very British outrage!) his full-brightness iPhone!) The screenplay was by Hampton Fancher (one of the original Blade Runner writers) and Michael Green (“Logan“, “Alien: Covenant“) but even with this track record, it’s the film’s Achilles heel.
It’s a relief that Blade Runner revisited is not a complete disaster: quite the opposite in fact. It doesn’t quite match C-beams glittering in the dark near the Tannhäuser Gate (what could)… but its a damned good attempt.
I lived in fear of this film since it was announced… having loved the original, a sequel was always going to be a risky prospect. But my fears were slightly quelled when I learned that Denis Villeneuve (“Arrival“) was at the helm. And having now seen it I am pleasantly relieved: this is a memorable film.
In 2049 the first-generation Nexus replicants of the original film are still causing problems, and Ryan Gosling is ‘K’ – a blade runner employed by LAPD lieutenant Joshi (Robin Wright, “Wonder Woman“, “House of Cards”) to track them down and liquidate them. On one of these missions, K uncovers a buried secret that brings the LAPD into a desperate race for a pivotal prize, against replicant-builder Niander Wallace (Jared Leto, “Dallas Buyer’s Club“) and his henchwoman Luv (Sylvia Hoeks). The mission leads to K searching out his illustrious predecessor Deckard (Harrison Ford), who is not keen to be found.
Firstly (and most impressively) this is a spectacle to watch…. “I’ve seen things…”! The visuals are just gorgeous, from the junk-yards of Greater Los Angeles to the radioactive ruins of Las Vegas, vividly glowing amber to glorious effect. Hardly a surprise with Roger Deakins (“Hail Caesar“, “Sicario“) behind the camera, but Adam Heinis (“Rogue One“) and the rest of his special effects team deserve kudos for the effects never feeling overly “CGI-like”.
The music (by Benjamin Wallfisch and Hans Zimmer, via a replaced Johann Johannsson) pays suitable tribute to the spirit of the original Vangelis soundtrack. (It’s curious though that “Tears in the Rain” from the soundtrack is a reworking of the Vangelis original, but Vangelis doesn’t seem to be credited anywhere! Vangelis and Ridley Scott clearly had a SERIOUS falling out!).
On the acting front, Ryan Gosling is his dynamic self as usual! (But here, somewhat justified). Harrison Ford is given very little screen time, but what he does do he does exceptionally well – his best performance in years. It’s some of the supporting parts though that really appeal: Dave Bautista (“Spectre“) is just superb in the opening scenes of the film, and I particularly enjoyed Ana de Armas’s portrayal of K’s holographic girlfriend Joi. I’ve seen comment in other reviews that described this relationship as “laughable” and a downward step for “woman’s rights” compared to Villeneuve’s previous strong female characters (of Louise from “Arrival” and Kate from “Sicario“). But I disagree! I found the relationship truly touching, with Joi’s procurement of a prostitute (Mackenzie Davis) to act as a surrogate body being both loving and giving. And as regards ‘woman’s rights’, come on! Get serious! This is a holographic commercial male companion…. the “Alexa” of the future…. I’m quite sure the male version looks like Ryan Reynolds! Sex still sells, even in 2049!!
My favourite character though was a cameo by Barkhad Abdi (“Captain Phillips“) luxoriating under the name of Doctor Badger!
I was less comfortable with Jared Leto’s dialogue which – for me at least – was barely audible. In general this film is both a challenge for those aurally challenged (with some fuzzy dialogue/effects/music mixes) and those visually challenged (with 8 point font for the on-screen text that was almost impossible to see on the cinema screen, so good luck with the DVD!).
I really wanted to give this film 5-Fads. But I can’t quite get there. The story – while interesting and having emotional depth – is lightweight for a film of this length (a butt-numbing 163 minutes!) and it moves at such a glacial pace that I’m ashamed to say that my mind wandered at times. (Specifically to how many different ways I could imagine harm being done to the American guy in front of me, who was constantly turning on his Apple watch and at one point (to whisperings of very British outrage!) his full-brightness iPhone!) The screenplay was by Hampton Fancher (one of the original Blade Runner writers) and Michael Green (“Logan“, “Alien: Covenant“) but even with this track record, it’s the film’s Achilles heel.
It’s a relief that Blade Runner revisited is not a complete disaster: quite the opposite in fact. It doesn’t quite match C-beams glittering in the dark near the Tannhäuser Gate (what could)… but its a damned good attempt.