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Charlotte's Web
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A Puffin Book - stories that last a lifetime. Puffin Modern Classics are relaunched under a new...
Movie Metropolis (309 KP) rated 2012 (2009) in Movies
Jun 10, 2019
Roland Emmerich does big budget disaster flicks as well as Dairylea does cheese. However, some of his most recent attempts to dominate the box office have been panned by viewers and critics alike, who say that he has become too reliant on special effects.
Unfortunately, those critics better look away now, as his new film is the biggest yet.
2012 takes place, well, in 2012 for the most part and features an array of big Hollywood names attracted none the less by the huge box office forecasts for the film. The premise is simple; here comes the end of the world and god should we run!
With a reported budget of over $200m which is more than Michael Bay spent on his worldwide smash Transformers: Revenge of the fallen, Emmerich was certainly able to splash out on some eye popping CGI.
2012 reads like The Day After Tomorrow on a steroid, which is no bad thing, but that film had some hideously underdeveloped characters and lacked the depth needed to allow viewers to share compassion for the people who had been affected by the global crisis.
Thankfully it seems that Emmerich has learnt his lesson here and has provided us with a back-story and it comes in many different forms. Thandie Newton and Danny Glover play president’s daughter and president respectively, a great deal of emotion has gone into writing these two characters and their on-screen scenes together, albeit a small amount, are wonderful.
John Cusack and Amanda Peet play divorced parents Jackson and Kate, only united by the love they share for their two young children and predictably later on in the film, a few deeper emotions. Unfortunately these two share no chemistry together and their on-screen scenes are flawed as a result.
2012 doesn’t have a huge deal of character development but it does improve on what was seen in The Day After Tomorrow and more recently, 10,000BC, with a deeper understanding of the characters. It ultimately succeeds in making the viewers share compassion for even the heartless characters in the film.
Moving on to the saving grace of all disaster films; the special effects, fans of major cities being destroyed are going to be pleased here with some eye-watering action pieces really showing why perhaps Emmerich overshadows even Michael Bay and has become the king of destroying anything that can be destroyed. There are a few questionable scenes, which look rather less than realistic, but this is a small point that doesn’t need to be taken into account.
Whilst all this may seem excellent, it all feels familiar, it’s all been seen and done before, so in reality 2012 adds nothing new to the genre which is unfortunate because it really is an excellent film.
Overall, 2012 is a mouth-watering treat in cinema engineering, apart from some lapses in scientific accuracy and some shaky special effects; it surpasses The Day After Tomorrow and similar disaster films by sheer depth. On the downside it adds nothing new to the formula, but if you want sheer popcorn fodder then please, look no further.
https://moviemetropolis.net/2010/10/18/2012-2009/
Unfortunately, those critics better look away now, as his new film is the biggest yet.
2012 takes place, well, in 2012 for the most part and features an array of big Hollywood names attracted none the less by the huge box office forecasts for the film. The premise is simple; here comes the end of the world and god should we run!
With a reported budget of over $200m which is more than Michael Bay spent on his worldwide smash Transformers: Revenge of the fallen, Emmerich was certainly able to splash out on some eye popping CGI.
2012 reads like The Day After Tomorrow on a steroid, which is no bad thing, but that film had some hideously underdeveloped characters and lacked the depth needed to allow viewers to share compassion for the people who had been affected by the global crisis.
Thankfully it seems that Emmerich has learnt his lesson here and has provided us with a back-story and it comes in many different forms. Thandie Newton and Danny Glover play president’s daughter and president respectively, a great deal of emotion has gone into writing these two characters and their on-screen scenes together, albeit a small amount, are wonderful.
John Cusack and Amanda Peet play divorced parents Jackson and Kate, only united by the love they share for their two young children and predictably later on in the film, a few deeper emotions. Unfortunately these two share no chemistry together and their on-screen scenes are flawed as a result.
2012 doesn’t have a huge deal of character development but it does improve on what was seen in The Day After Tomorrow and more recently, 10,000BC, with a deeper understanding of the characters. It ultimately succeeds in making the viewers share compassion for even the heartless characters in the film.
Moving on to the saving grace of all disaster films; the special effects, fans of major cities being destroyed are going to be pleased here with some eye-watering action pieces really showing why perhaps Emmerich overshadows even Michael Bay and has become the king of destroying anything that can be destroyed. There are a few questionable scenes, which look rather less than realistic, but this is a small point that doesn’t need to be taken into account.
Whilst all this may seem excellent, it all feels familiar, it’s all been seen and done before, so in reality 2012 adds nothing new to the genre which is unfortunate because it really is an excellent film.
Overall, 2012 is a mouth-watering treat in cinema engineering, apart from some lapses in scientific accuracy and some shaky special effects; it surpasses The Day After Tomorrow and similar disaster films by sheer depth. On the downside it adds nothing new to the formula, but if you want sheer popcorn fodder then please, look no further.
https://moviemetropolis.net/2010/10/18/2012-2009/
Core Fitness Solution: More Than 5,000 Customized Workouts You Can Do Anywhere
Michael De Medeiros and Kendall Wood
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The promise of building a six-pack is found in many places. Results, however, are not. With Core...
Lee (2222 KP) rated The Gentlemen (2020) in Movies
Jan 5, 2020
After the big budget train wreck that was King Arthur: Legend of the Sword in 2017, and the big budget Disney remake of Aladdin last year, Guy Ritchie has returned to the comedy gangster roots where he made his name more than two decades ago. It’s the kind of movie that I’m not really a fan of if I’m honest, and I didn’t even like the look of the trailer for The Gentlemen either, but I gave it a shot. I’m glad I did.
Matthew McConaughey is Mickey Pearson, a sharp suit wearing, self made millionaire. Mickey made his fortune by initially selling weed to students while studying with them at Oxford, before spending the next 20 years building up a nationwide marijuana empire. It’s a slick operation too - by striking up deals with British aristocrats who are struggling to maintain their large stately homes, Mickey has been able to setup 12 marijuana farms on their premises and kept them undetected. However, Mickey is now looking to sell up and retire so that he can buy himself one of those big stately homes for him and his ice queen wife (Michelle Dockery). But it’s not quite as easy as that. There are a number of interested parties who either want to screw the price down or just take the whole operation from under Mickey’s feet. And the king of the jungle isn’t having any of it.
The story plays out under the narration of sleazy reporter Fletcher (Hugh Grant), who has turned up on the doorstep of Mickey’s right hand man Raymond (Charlie Hunnam) one evening in order to try and blackmail his boss. Fletcher has been hired by a tabloid editor to dig up dirt on Mickey Pearson and has been closely following the events and players surrounding the sale of his business. Fletcher has decided that what he’s uncovered could be worth a hell of a lot more than the £150K promised by the newspaper and has turned his findings into a movie script which he then proceeds to describe to Raymond throughout the movie. Along the way, details are embellished by Fletcher to spice up certain moments that he feels are lacking in action, corrected by Raymond as we rewind to see the actual events.
The Gentlemen features a big ensemble cast, most of which give a brilliantly hilarious performance. Hugh Grant steals the show, with his campy Michael Caine. Along the way we meet Chinese rival Dry Eye (Henry Golding, redeeming himself after his wooden performance in Last Christmas recently) and Coach (another show stealer, played by Colin Farrell).
The pacing of The Gentlemen felt spot on for me, and as the story flipped back and forth in time, interspersed with Fletcher and Raymond’s comic interludes, I never felt bored. There are plenty of twists and turns, c-bombs and much more of what you’d expect from a Ritchie movie of this kind. But it also feels a lot slicker and more mainstream, with most of the violence occurring off screen - apart from the odd cocky young chav or drug addict getting the occasional well deserved slap!
Overall, I’m so glad I have this movie a chance. A great cast and a fun story with plenty of laugh out loud moments.
Matthew McConaughey is Mickey Pearson, a sharp suit wearing, self made millionaire. Mickey made his fortune by initially selling weed to students while studying with them at Oxford, before spending the next 20 years building up a nationwide marijuana empire. It’s a slick operation too - by striking up deals with British aristocrats who are struggling to maintain their large stately homes, Mickey has been able to setup 12 marijuana farms on their premises and kept them undetected. However, Mickey is now looking to sell up and retire so that he can buy himself one of those big stately homes for him and his ice queen wife (Michelle Dockery). But it’s not quite as easy as that. There are a number of interested parties who either want to screw the price down or just take the whole operation from under Mickey’s feet. And the king of the jungle isn’t having any of it.
The story plays out under the narration of sleazy reporter Fletcher (Hugh Grant), who has turned up on the doorstep of Mickey’s right hand man Raymond (Charlie Hunnam) one evening in order to try and blackmail his boss. Fletcher has been hired by a tabloid editor to dig up dirt on Mickey Pearson and has been closely following the events and players surrounding the sale of his business. Fletcher has decided that what he’s uncovered could be worth a hell of a lot more than the £150K promised by the newspaper and has turned his findings into a movie script which he then proceeds to describe to Raymond throughout the movie. Along the way, details are embellished by Fletcher to spice up certain moments that he feels are lacking in action, corrected by Raymond as we rewind to see the actual events.
The Gentlemen features a big ensemble cast, most of which give a brilliantly hilarious performance. Hugh Grant steals the show, with his campy Michael Caine. Along the way we meet Chinese rival Dry Eye (Henry Golding, redeeming himself after his wooden performance in Last Christmas recently) and Coach (another show stealer, played by Colin Farrell).
The pacing of The Gentlemen felt spot on for me, and as the story flipped back and forth in time, interspersed with Fletcher and Raymond’s comic interludes, I never felt bored. There are plenty of twists and turns, c-bombs and much more of what you’d expect from a Ritchie movie of this kind. But it also feels a lot slicker and more mainstream, with most of the violence occurring off screen - apart from the odd cocky young chav or drug addict getting the occasional well deserved slap!
Overall, I’m so glad I have this movie a chance. A great cast and a fun story with plenty of laugh out loud moments.
Gareth von Kallenbach (980 KP) rated Papillon (2018) in Movies
Jul 2, 2019
Henry “Papillon” Charriere (Charlie Hunnam) is a safecracker making his name in the Parisian underworld. But when he decides to keep some diamonds from a big score to himself his luck changes. He is framed for a murder and given a life sentence. Even worse for Papillon is that he is being shipped to the Devil’s Island penal colony in French Giana. With no chance at an appeal his only chance at freedom is to escape. On the long boat ride from France to South America he finds an unlikely ally in the form of the forger Louis Dega (Rami Malek). The slight and awkward Dega does not want to escape but rather just survive long enough to have his appeal heard. Papillon agrees to protect Dega in exchange for financing any escape plan Papillon can devise. With Dega’s financial backing Papillon now only has to figure out how to escape from prison no one has been known to escape from on an island surrounded by rivers and ocean, unforgiving jungle and guards who shoot to kill.
Papillon is based on a true story and adapted from the novels “Papillon” and “Banco” written by Charriere himself. This is the second film adaptation of these novels. The other film, also Papillon, is from 1973 stared Steve McQueen and Dustin Hoffman. I have not seen the 1973 version but I did enjoy the story and could be worth viewing to get another directors vision.
The 2018 version is powered but a captivating story of survival and the unlikely friendship of two men thrust together in a harsh environment. Both Hunnam (King Arthur, Pacific Rim) and Malek (Mr. Robot – TV Series, Night at the Museum) give excellent performances. The rest of the cast is okay but these two stars give great performances. Danish director Michael Noer (R, Northwest) does a decent job in the telling of the story visually. There was blood in one scene that was a pink colored and did not look anything like blood and that was a little distracting. The prison seemed realistic and grimy, but also weirdly bright.
Overall I enjoyed this film. I didn’t have any expectations going in and was pleasantly surprised but interesting story. At 2 hours and 13 minutes it does seem a bit too long. This would be a film I would enjoy watching at home and not necessarily something I would spend theater money on.
Papillon is based on a true story and adapted from the novels “Papillon” and “Banco” written by Charriere himself. This is the second film adaptation of these novels. The other film, also Papillon, is from 1973 stared Steve McQueen and Dustin Hoffman. I have not seen the 1973 version but I did enjoy the story and could be worth viewing to get another directors vision.
The 2018 version is powered but a captivating story of survival and the unlikely friendship of two men thrust together in a harsh environment. Both Hunnam (King Arthur, Pacific Rim) and Malek (Mr. Robot – TV Series, Night at the Museum) give excellent performances. The rest of the cast is okay but these two stars give great performances. Danish director Michael Noer (R, Northwest) does a decent job in the telling of the story visually. There was blood in one scene that was a pink colored and did not look anything like blood and that was a little distracting. The prison seemed realistic and grimy, but also weirdly bright.
Overall I enjoyed this film. I didn’t have any expectations going in and was pleasantly surprised but interesting story. At 2 hours and 13 minutes it does seem a bit too long. This would be a film I would enjoy watching at home and not necessarily something I would spend theater money on.
Belatedly by Ore
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Damien Echols recommended Halloween (1978) in Movies (curated)
Gareth von Kallenbach (980 KP) rated The Suicide Squad (2021) in Movies
Aug 5, 2021
James Gunn returns with the sequel to 2016’s Suicide Squad. This time, the nefarious company woman Amanda Waller (Viola Davis), returns to Belle Reve to recruit the next iteration of Task Force X. Initially, we are introduced to the new recruits: Savant (Michael Rooker), Blackguard (Pete Davidson), Javelin (Flula Borg), Mongal (Mayling Ng), T.D.K. (Nathan Fillion) and The Weasel (Sean Gunn). We meet our favorites from the first film: Harley Quinn (Margot Robbie), Captain Rick Flag (Joel Kinnaman), Captain Boomerang (Jai Courtney). They have signed on to be dropped into a small island nation, Corto Maltese.
This country, just taken over by a military coup has a lab with a 30-year secret weapon. Ms. Waller offers them years off each team member’s sentence to “Save the World”. Or, in this case, infiltrate Corto Maltese to find and destroy the project. Our hapless but highly skilled group lands and takes on heavy fire.
Meanwhile, we have Team B led by Bloodsport (Idris Elba), Peacemaker (John Cena), Ratcatcher 2 (Daniela Melchior), Polka Dot Man (David Dastmalchian), King Shark (The physical, John Economos with the voice of Sylvester Stallone). As the separate teams go forth and bond in violence, we find out more about their personal childhood traumas that made them the criminals they have become.
This sequel has James Gunn’s DNA all over the film. He raised the bar from the first film by providing bright, visual treats. The action is violent in a cartoonish manner that buffers the impact when one looks at the many ways one can dispatch a human. The story goes from sarcasm, dry wit, demented clown to the stooges’ physical hilarity. As we watch the Squad fight their way across the island, there are points where these characters are skilled killers despite the humor in their murderous madness.
I was laughing throughout the film, it certainly felt like a panacea for these challenging times. Pay attention, there are little moments of snappy comebacks that feel like they’re from old-school Mad Magazine. The pace runs steadily which helps the dissonance become more impactful. The Suicide Squad was not boring, it was very entertaining and such a campy ride. FYI: there are TWO after-credit scenes.
The Soundtrack is so very good from the first shot, to the after credit, shotsThis Summer Blockbuster certainly delivers the entertainment.
4.75 out of 5 Stars
This country, just taken over by a military coup has a lab with a 30-year secret weapon. Ms. Waller offers them years off each team member’s sentence to “Save the World”. Or, in this case, infiltrate Corto Maltese to find and destroy the project. Our hapless but highly skilled group lands and takes on heavy fire.
Meanwhile, we have Team B led by Bloodsport (Idris Elba), Peacemaker (John Cena), Ratcatcher 2 (Daniela Melchior), Polka Dot Man (David Dastmalchian), King Shark (The physical, John Economos with the voice of Sylvester Stallone). As the separate teams go forth and bond in violence, we find out more about their personal childhood traumas that made them the criminals they have become.
This sequel has James Gunn’s DNA all over the film. He raised the bar from the first film by providing bright, visual treats. The action is violent in a cartoonish manner that buffers the impact when one looks at the many ways one can dispatch a human. The story goes from sarcasm, dry wit, demented clown to the stooges’ physical hilarity. As we watch the Squad fight their way across the island, there are points where these characters are skilled killers despite the humor in their murderous madness.
I was laughing throughout the film, it certainly felt like a panacea for these challenging times. Pay attention, there are little moments of snappy comebacks that feel like they’re from old-school Mad Magazine. The pace runs steadily which helps the dissonance become more impactful. The Suicide Squad was not boring, it was very entertaining and such a campy ride. FYI: there are TWO after-credit scenes.
The Soundtrack is so very good from the first shot, to the after credit, shotsThis Summer Blockbuster certainly delivers the entertainment.
4.75 out of 5 Stars
DaveySmithy (107 KP) rated The Dead Zone (1983) in Movies
Dec 3, 2024
A Chilling and Thoughtful Thriller
David Cronenberg’s The Dead Zone (1983) is a film that quietly lingers with you long after the credits roll. Adapted from Stephen King’s novel, it’s a rare blend of psychological horror, heartfelt drama, and supernatural thriller that doesn’t rely on cheap scares to grip its audience. Instead, it uses its haunting premise, a strong central performance by Christopher Walken, and Cronenberg’s understated direction to craft a deeply unsettling exploration of fate, morality, and the burden of knowing the future.
The story follows Johnny Smith (Walken), an ordinary schoolteacher whose life is upended when a car accident leaves him in a coma for five years. When he awakens, he discovers he has gained the ability to see people’s pasts and futures through physical contact—a gift that feels more like a curse. What begins as an attempt to understand and use this newfound power for good spirals into a dark moral dilemma when Johnny foresees a catastrophic future involving a rising politician, Greg Stillson (Martin Sheen).
Christopher Walken is the emotional core of the film, delivering one of his most human and vulnerable performances. He masterfully conveys Johnny’s pain, loneliness, and reluctant heroism, making his character deeply sympathetic. Walken’s portrayal grounds the supernatural elements of the story, ensuring they never feel far-fetched. Martin Sheen is equally compelling as the menacing and unhinged Stillson, a character whose ambition and ruthlessness are frighteningly plausible.
Cronenberg, known for his visceral body horror, takes a restrained approach here, focusing on mood and atmosphere over gore. This subtlety works to the film’s advantage, allowing the tension to simmer until its gripping climax. The muted color palette and moody score by Michael Kamen add to the sense of dread, perfectly capturing the eerie small-town setting.
However, The Dead Zone isn’t without its flaws. The pacing occasionally drags, and some of the supporting characters feel underdeveloped. Additionally, the episodic structure—though true to the novel—can make the narrative feel uneven.
Despite these minor issues, The Dead Zone is an intelligent and emotionally resonant thriller that explores heavy themes with nuance. It may not be as flashy as other Stephen King adaptations, but its quiet power and moral complexity make it a standout. A solid 8/10.
The story follows Johnny Smith (Walken), an ordinary schoolteacher whose life is upended when a car accident leaves him in a coma for five years. When he awakens, he discovers he has gained the ability to see people’s pasts and futures through physical contact—a gift that feels more like a curse. What begins as an attempt to understand and use this newfound power for good spirals into a dark moral dilemma when Johnny foresees a catastrophic future involving a rising politician, Greg Stillson (Martin Sheen).
Christopher Walken is the emotional core of the film, delivering one of his most human and vulnerable performances. He masterfully conveys Johnny’s pain, loneliness, and reluctant heroism, making his character deeply sympathetic. Walken’s portrayal grounds the supernatural elements of the story, ensuring they never feel far-fetched. Martin Sheen is equally compelling as the menacing and unhinged Stillson, a character whose ambition and ruthlessness are frighteningly plausible.
Cronenberg, known for his visceral body horror, takes a restrained approach here, focusing on mood and atmosphere over gore. This subtlety works to the film’s advantage, allowing the tension to simmer until its gripping climax. The muted color palette and moody score by Michael Kamen add to the sense of dread, perfectly capturing the eerie small-town setting.
However, The Dead Zone isn’t without its flaws. The pacing occasionally drags, and some of the supporting characters feel underdeveloped. Additionally, the episodic structure—though true to the novel—can make the narrative feel uneven.
Despite these minor issues, The Dead Zone is an intelligent and emotionally resonant thriller that explores heavy themes with nuance. It may not be as flashy as other Stephen King adaptations, but its quiet power and moral complexity make it a standout. A solid 8/10.
Rock 'n' Film: Cinema's Dance with Popular Music
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Rock 'N' Film presents a cultural history of films about US and British rock music during the period...