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Darren (1599 KP) rated All the Boys Love Mandy Lane (2006) in Movies
Jun 20, 2019
Story: All the Boys Love Mandy Lane starts with a teenage house party where one of the cool kids tries to hit on the beautiful Mandy Lane (Heard) but when one of the boys chasing her dies in an attempt to impress her we see how close Mandy is to Emmet (Welch). 9 months have passed since the accident and Red (Himelstein) is arranging a party at his family’s ranch which will include the invitation of Mandy Lane.
We watch as a group of high school friends head off to a ranch for a weekend off fun with plenty or drinks, drugs and sex with all the boys after Mandy Lane. We watch as the friend go through the traditional high school relationship issues and adding in the alcohol we get everything elevated to the next level. The weekend away takes twist when somebody starts picking off the friends before we learn that there is a bigger motive behind everything that happens.
All the Boys Love Mandy Lane really is just a bogged standard slasher film for the most part, but it does have an interesting twist you don’t see coming. The characters are very painful generic and the story just follows everything you would expect to see in a slasher film. The film tries something different with the ending which is the only positive about this film otherwise it really is just offer nothing new. (5/10)
Actor Review
Amber Heard: Mandy Lane is the gorgeous girl that all the high school guys want to be with but she is very independent not falling for any of the guys lines. She strikes jealousy between the friends who each believe they are in the driving seat to get her. Amber does a solid job in the role but clearly only works because of how beautiful she is. (6/10)
mandy
Anson Mount: Garth is the ranch hand on the ranch that all the girls fall for but he ends up planning babysitter to all of the high school kids who can’t handle their drinks. Anson does a basic job as the older wise protector of the film but doesn’t do enough with the whole story. (4/10)
Whitney Able: Chloe is the insecure member of the friends who thinks all the girls need a perfect skinny body to impress the guys. Whitney does end up being the very generic character that we are all expecting to get what is coming to her early on. (5/10)
Michael Welch: Emmet is Mandy’s old friend who is the guy picking off the popular kids to make them pay for what happened after the party incident. Michael plays the killer well using no remorse through the film. (6/10)
Support Cast: All the Boys Love Mandy Lane has a supporting cast that is basically there just to be disposable and only become helpful to make Emmet look more crazed.
Director Review: Jonathan Levine – Jonathan does a solid job with the horror film because it follows the same old routine but throws you out of the comfort zone with the ending. (5/10)
Horror: All the Boys Love Mandy Lane follows all the slasher ABC style very easily. (8/10)
Settings: All the Boys Love Mandy Lane puts our characters in an isolated location for the horror to take place where the killer can get away with whatever they wants. (7/10)
Suggestion: All the Boys Love Mandy Lane is one for the horror fans to enjoy otherwise it will just end up being very average. (Horror Fans Try)
Best Part: Final Twist.
Worst Part: Nothing new in the opening part.
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: No
Post Credits Scene: No
Similar Too: Most Slasher films.
Oscar Chances: No
Budget: $750,000
Runtime: 1 Hour 30 Minutes
Tagline: Everyone is dying to be with her. Someone is killing for it.
Overall: Just another slasher that we have seen too many times before.
https://moviesreview101.com/2015/10/02/movie-reviews-101-halloween-midnight-horror-all-the-boys-love-mandy-lane-2006/
We watch as a group of high school friends head off to a ranch for a weekend off fun with plenty or drinks, drugs and sex with all the boys after Mandy Lane. We watch as the friend go through the traditional high school relationship issues and adding in the alcohol we get everything elevated to the next level. The weekend away takes twist when somebody starts picking off the friends before we learn that there is a bigger motive behind everything that happens.
All the Boys Love Mandy Lane really is just a bogged standard slasher film for the most part, but it does have an interesting twist you don’t see coming. The characters are very painful generic and the story just follows everything you would expect to see in a slasher film. The film tries something different with the ending which is the only positive about this film otherwise it really is just offer nothing new. (5/10)
Actor Review
Amber Heard: Mandy Lane is the gorgeous girl that all the high school guys want to be with but she is very independent not falling for any of the guys lines. She strikes jealousy between the friends who each believe they are in the driving seat to get her. Amber does a solid job in the role but clearly only works because of how beautiful she is. (6/10)
mandy
Anson Mount: Garth is the ranch hand on the ranch that all the girls fall for but he ends up planning babysitter to all of the high school kids who can’t handle their drinks. Anson does a basic job as the older wise protector of the film but doesn’t do enough with the whole story. (4/10)
Whitney Able: Chloe is the insecure member of the friends who thinks all the girls need a perfect skinny body to impress the guys. Whitney does end up being the very generic character that we are all expecting to get what is coming to her early on. (5/10)
Michael Welch: Emmet is Mandy’s old friend who is the guy picking off the popular kids to make them pay for what happened after the party incident. Michael plays the killer well using no remorse through the film. (6/10)
Support Cast: All the Boys Love Mandy Lane has a supporting cast that is basically there just to be disposable and only become helpful to make Emmet look more crazed.
Director Review: Jonathan Levine – Jonathan does a solid job with the horror film because it follows the same old routine but throws you out of the comfort zone with the ending. (5/10)
Horror: All the Boys Love Mandy Lane follows all the slasher ABC style very easily. (8/10)
Settings: All the Boys Love Mandy Lane puts our characters in an isolated location for the horror to take place where the killer can get away with whatever they wants. (7/10)
Suggestion: All the Boys Love Mandy Lane is one for the horror fans to enjoy otherwise it will just end up being very average. (Horror Fans Try)
Best Part: Final Twist.
Worst Part: Nothing new in the opening part.
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: No
Post Credits Scene: No
Similar Too: Most Slasher films.
Oscar Chances: No
Budget: $750,000
Runtime: 1 Hour 30 Minutes
Tagline: Everyone is dying to be with her. Someone is killing for it.
Overall: Just another slasher that we have seen too many times before.
https://moviesreview101.com/2015/10/02/movie-reviews-101-halloween-midnight-horror-all-the-boys-love-mandy-lane-2006/
Chris Sawin (602 KP) rated All the Boys Love Mandy Lane (2006) in Movies
Jun 18, 2019
Mandy Lane (Amber Heard) becomes the most desirable girl in high school over one fateful summer; she's definitely not like the other girls her age though. While most guys want to do everything imaginable to her, she's turned them all down. The only guy she really gives the time of day is her best friend, Emmet (Michael Welch). That is until a certain incident at a pool party comes between them. Now nine months later, Mandy has distanced herself from Emmet and has a group of new friends. These friends have decided to invite Mandy to a ranch out in the middle of nowhere for a few days and the guys who tag along hope to accomplish what, up to this point, has been impossible. But when people begin to turn up missing, they soon realize that they're not alone and someone is taking their obsession with Mandy Lane a little too far.
All the Boys Love Mandy Lane was like an urban myth for the longest period of time. The film debuted at the Toronto International Film Festival in 2006 and released in the UK in 2008. It seemed to be released in every country other than the US shortly thereafter and it took another excruciating five years since it didn’t debut stateside until October of 2013. For a film that was originally shot in 2006, taking seven years to finally see distribution is bizarre and disheartening. The horror film originally caught the eye of The Weinstein Company immediately after debuting at TIFF, but the Weinstein brothers couldn’t come to a decision regarding its release (Harvey wanted a wide theatrical distribution while Bob thought the “artsy” film deserved more of a limited release). Rights to the film were eventually sold to a German company called Senator Entertainment US, who released the film in Germany and Austria and had the intention of premiering the film in the US. But the US branch of Senator Entertainment US went under in 2009 and rights to the film were dead in the water until The Weinstein Company reacquired distribution rights in 2013. The film was released on demand on September 6th with a limited theatrical run October 11th the same year.
The crew for the film consisted of college students freshly graduated from the American Film Institute. Producer Chad Feehan had the film as his thesis during college as work on the project initially began in 2003. Written by Jacob Forman and directed by Jonathan Levine (50/50, Warm Bodies), the film garnered an unbelievable amount of positive buzz online that accumulated into this massive pile of insurmountable expectations. Reading about the film for so long and hearing about how good it was from the biggest of horror sites probably inadvertently hurt the film more than it escalated interest for it.
All the Boys Love Mandy Lane takes a Dazed and Confused approach to the first half of the film. Similar to how Wolf Creek had you swimming through 45-minutes of character development before the actual horror began (or how Hatchet was silly for the same amount of time before diving into awesome practical gore effects), All the Boys Love Mandy Lane is mostly high school kids getting into typical teenager shenanigans; drinking alcohol, doing drugs, and having sex. The second half of the film is pure horror and is essentially a slasher film. The horror is teased at first with little glimpses of terror before diving right back into high school mode, but the film is able to intensify its sense of dread to the point where it’s eventually beautifully horrific in every scene.
For a film that is made by first time filmmakers for less than $1 million, All the Boys Love Mandy Lane has beautiful cinematography. Vivid colors jump off the screen and seem even lusher once the film begins to cover itself in mud and dirt. Cinematographer Darren Genet has an eye for dynamic angles and utilizing when to focus and blur menacing figures in the background (or foreground) for maximum impact. The film also has a tendency to overlap shots in order to create an entirely new, which can probably be contributed to the talent of film editor Josh Noyes (The Wackness). These impressive filming techniques shine brightest when Bird (Edwin Hodge) is on-screen; when he goes to start the generator after the power goes out, when he confronts the killer, and the car chase. Like other successful film genres, horror can often become formulaic not only when it comes to its writing or how its acted but how it’s shot. It’s always a breath of fresh air when you can say a film is unique in some capacity; especially horror.
With Michael Welch mostly being associated with portraying popular high school student Mike Newton in the Twilight franchise, your expectations for a memorable performance from Welch in All the Boys Love Mandy Lane are probably fairly low. Around the time Mandy Lane was in peak hype mode, Welch was in the abysmal Day of the Dead remake. Directed by Steve Miner (Halloween H20) and also starring Nick Cannon, Day of the Dead is an atrocious remake (but maybe 2018’s remake Day of the Dead: Bloodline is worse). However, Welch’s portrayal of Emmet in Mandy Lane is exceptional. His performance, especially during the closing moments of the film, is captivating. He has this American Psycho quality to his psychotic behavior that is hauntingly mesmerizing.
All the Boys Love Mandy Lane puts a different spin on the slasher film that would have had way more of an impact had it originally been released ten years ago instead of five. The film does require patience from the audience as the film takes a slow and steady approach to its eventual slasher nature. While the outcome is likely fairly predictable, watching how everything unfolds in Mandy Lane is where it shines. The ending is the film’s crown jewel and even though the killer is revealed its open ending suits the film’s already ambiguous nature. Now that All the Boys Love Mandy Lane is readily available at your fingertips, its originality seemed much more promising when it felt like it was the holy grail of horror films (kind of like The Poughkeepsie Tapes). The film’s consistency to offer a slasher that cuts in a different direction than most horror films along with Michael Welch’s brilliantly unbalanced performance makes All the Boys Love Mandy Lane a worthwhile experience.
All the Boys Love Mandy Lane is currently free to stream on Amazon if you have Starz with Prime Video Channels. It’s also currently available to rent via Amazon Video ($2.99), Vudu ($2.99), and iTunes ($3.99). The film is can be purchased on DVD ($9.91) and Multi-Format Blu-ray ($12.99) on Amazon and is even cheaper on eBay (the Blu-ray is available for $8.99 and the DVD is $7.98, both have free shipping).
All the Boys Love Mandy Lane was like an urban myth for the longest period of time. The film debuted at the Toronto International Film Festival in 2006 and released in the UK in 2008. It seemed to be released in every country other than the US shortly thereafter and it took another excruciating five years since it didn’t debut stateside until October of 2013. For a film that was originally shot in 2006, taking seven years to finally see distribution is bizarre and disheartening. The horror film originally caught the eye of The Weinstein Company immediately after debuting at TIFF, but the Weinstein brothers couldn’t come to a decision regarding its release (Harvey wanted a wide theatrical distribution while Bob thought the “artsy” film deserved more of a limited release). Rights to the film were eventually sold to a German company called Senator Entertainment US, who released the film in Germany and Austria and had the intention of premiering the film in the US. But the US branch of Senator Entertainment US went under in 2009 and rights to the film were dead in the water until The Weinstein Company reacquired distribution rights in 2013. The film was released on demand on September 6th with a limited theatrical run October 11th the same year.
The crew for the film consisted of college students freshly graduated from the American Film Institute. Producer Chad Feehan had the film as his thesis during college as work on the project initially began in 2003. Written by Jacob Forman and directed by Jonathan Levine (50/50, Warm Bodies), the film garnered an unbelievable amount of positive buzz online that accumulated into this massive pile of insurmountable expectations. Reading about the film for so long and hearing about how good it was from the biggest of horror sites probably inadvertently hurt the film more than it escalated interest for it.
All the Boys Love Mandy Lane takes a Dazed and Confused approach to the first half of the film. Similar to how Wolf Creek had you swimming through 45-minutes of character development before the actual horror began (or how Hatchet was silly for the same amount of time before diving into awesome practical gore effects), All the Boys Love Mandy Lane is mostly high school kids getting into typical teenager shenanigans; drinking alcohol, doing drugs, and having sex. The second half of the film is pure horror and is essentially a slasher film. The horror is teased at first with little glimpses of terror before diving right back into high school mode, but the film is able to intensify its sense of dread to the point where it’s eventually beautifully horrific in every scene.
For a film that is made by first time filmmakers for less than $1 million, All the Boys Love Mandy Lane has beautiful cinematography. Vivid colors jump off the screen and seem even lusher once the film begins to cover itself in mud and dirt. Cinematographer Darren Genet has an eye for dynamic angles and utilizing when to focus and blur menacing figures in the background (or foreground) for maximum impact. The film also has a tendency to overlap shots in order to create an entirely new, which can probably be contributed to the talent of film editor Josh Noyes (The Wackness). These impressive filming techniques shine brightest when Bird (Edwin Hodge) is on-screen; when he goes to start the generator after the power goes out, when he confronts the killer, and the car chase. Like other successful film genres, horror can often become formulaic not only when it comes to its writing or how its acted but how it’s shot. It’s always a breath of fresh air when you can say a film is unique in some capacity; especially horror.
With Michael Welch mostly being associated with portraying popular high school student Mike Newton in the Twilight franchise, your expectations for a memorable performance from Welch in All the Boys Love Mandy Lane are probably fairly low. Around the time Mandy Lane was in peak hype mode, Welch was in the abysmal Day of the Dead remake. Directed by Steve Miner (Halloween H20) and also starring Nick Cannon, Day of the Dead is an atrocious remake (but maybe 2018’s remake Day of the Dead: Bloodline is worse). However, Welch’s portrayal of Emmet in Mandy Lane is exceptional. His performance, especially during the closing moments of the film, is captivating. He has this American Psycho quality to his psychotic behavior that is hauntingly mesmerizing.
All the Boys Love Mandy Lane puts a different spin on the slasher film that would have had way more of an impact had it originally been released ten years ago instead of five. The film does require patience from the audience as the film takes a slow and steady approach to its eventual slasher nature. While the outcome is likely fairly predictable, watching how everything unfolds in Mandy Lane is where it shines. The ending is the film’s crown jewel and even though the killer is revealed its open ending suits the film’s already ambiguous nature. Now that All the Boys Love Mandy Lane is readily available at your fingertips, its originality seemed much more promising when it felt like it was the holy grail of horror films (kind of like The Poughkeepsie Tapes). The film’s consistency to offer a slasher that cuts in a different direction than most horror films along with Michael Welch’s brilliantly unbalanced performance makes All the Boys Love Mandy Lane a worthwhile experience.
All the Boys Love Mandy Lane is currently free to stream on Amazon if you have Starz with Prime Video Channels. It’s also currently available to rent via Amazon Video ($2.99), Vudu ($2.99), and iTunes ($3.99). The film is can be purchased on DVD ($9.91) and Multi-Format Blu-ray ($12.99) on Amazon and is even cheaper on eBay (the Blu-ray is available for $8.99 and the DVD is $7.98, both have free shipping).
David McK (3422 KP) rated Man of Steel (2013) in Movies
Sep 26, 2021
"KNEEL BEFORE ZOD!"
Oh, wait, wrong version of that character!
This is Zack Snyders reboot of the Superman story; basically an origin story for The Man of Steel and setting out is stall pretty early with the absolutely bonkers scene where Russell Crowe's Jor-El rides a dragon as the planet Krypton (a very different take on said planet than in the Christopher Reeve films) begins to die.
It also ends with the massive destruction in Metropolis - to be fair, a consequence of which is shown in the following DC film Batman Vs Superman - and with a shocking scene where this version of Superman commits an action it is almost impossible to imagine his Silver Age counterpoint to do.
Michael Shannon's Zod comes across as less campy than Terence Stamps, while - in this version, at least - the reason Lois Lane is a Pulitzer Prize winning journalist *is* actually shown.
Oh, wait, wrong version of that character!
This is Zack Snyders reboot of the Superman story; basically an origin story for The Man of Steel and setting out is stall pretty early with the absolutely bonkers scene where Russell Crowe's Jor-El rides a dragon as the planet Krypton (a very different take on said planet than in the Christopher Reeve films) begins to die.
It also ends with the massive destruction in Metropolis - to be fair, a consequence of which is shown in the following DC film Batman Vs Superman - and with a shocking scene where this version of Superman commits an action it is almost impossible to imagine his Silver Age counterpoint to do.
Michael Shannon's Zod comes across as less campy than Terence Stamps, while - in this version, at least - the reason Lois Lane is a Pulitzer Prize winning journalist *is* actually shown.
Bob Mann (459 KP) rated Star Trek VI - The Undiscovered Country (1991) in Movies
Sep 28, 2021
“Star Trek is not bloody Shakespeare” – – I’m sure someone has said that at some point (probably, my wife!). But here, it is! The late Christopher Plummer comes roaring into the series joyfully quoting the great bard (from the original Klingon version!).
Trek got firmly back in the fast lane again with this movie. The fun was back! David Warner becomes the only character to date to appear in two consecutive Trek films as different characters (with curiously Michael Dorn becoming the next – see below!). He gets a meatier part this time though. But he – and indeed everyone else – is upstaged by Plummer’s marvellously over-the-top performance.
Iman is memorable as a cigar-smoking shape-shifting alien, leading to some wonderful Kirk-on-Kirk action, and the delivery of one of the best lines of comedy in the series: surprisingly self-deprecating for the normally ego-centric Shatner. There’s also a welcome call-back to the ‘Kirk gets the girl’ joke of the original series, which you realise, with a shock, has been completely missing from all of the previous movie outings.
There are also a nice range of cameo appearances in here. Christian Slater – a lifelong Trek-fan – has a bit part: apparently he framed, rather than cashed, his cheque! And Michael Dorn – already playing Worf in “The Next Generation”, and to appear as Worf in the next movie – plays Worf’s grandfather, a Klingon defence attorney!
But my favourite piece of trivia relates to a completely different film. Al Pacino was filming “Frankie and Johnny” in the studio at the same time, and a scene (sadly cut from the final film) called for Pacino to look surprised after opening a door. So director Garry Marshall arranged for Shatner, Nimoy and Kelley in full Star Trek costume, to be standing behind the door when he opened it. (Garry Marshall quote here). Love it!
Trek got firmly back in the fast lane again with this movie. The fun was back! David Warner becomes the only character to date to appear in two consecutive Trek films as different characters (with curiously Michael Dorn becoming the next – see below!). He gets a meatier part this time though. But he – and indeed everyone else – is upstaged by Plummer’s marvellously over-the-top performance.
Iman is memorable as a cigar-smoking shape-shifting alien, leading to some wonderful Kirk-on-Kirk action, and the delivery of one of the best lines of comedy in the series: surprisingly self-deprecating for the normally ego-centric Shatner. There’s also a welcome call-back to the ‘Kirk gets the girl’ joke of the original series, which you realise, with a shock, has been completely missing from all of the previous movie outings.
There are also a nice range of cameo appearances in here. Christian Slater – a lifelong Trek-fan – has a bit part: apparently he framed, rather than cashed, his cheque! And Michael Dorn – already playing Worf in “The Next Generation”, and to appear as Worf in the next movie – plays Worf’s grandfather, a Klingon defence attorney!
But my favourite piece of trivia relates to a completely different film. Al Pacino was filming “Frankie and Johnny” in the studio at the same time, and a scene (sadly cut from the final film) called for Pacino to look surprised after opening a door. So director Garry Marshall arranged for Shatner, Nimoy and Kelley in full Star Trek costume, to be standing behind the door when he opened it. (Garry Marshall quote here). Love it!
Bob Mann (459 KP) rated Let Him Go (2020) in Movies
Dec 23, 2020
Feud for Thought
After a family tragedy for the Blackledge family, grandparents George (Kevin Costner) and Margaret (Diane Lane) are left to bring up baby Jimmy (Bram and Otto Hornung) with mother/daughter-in-law Lorna (Kayli Carter). But a few years later, Lorna marries bad-un Donnie Weboy (Will Brittain) and disappears back to Donnie's hillbilly extended family in the wilds of North Dakota, led by the fearsome Blanche Weboy (Lesley Manville). Fearing for the child's wellbeing, Margaret drags retired Sheriff George on a dangerous journey to rescue the child.
There are strong similarities in this story with a sub-plot of the excellent "Ozark", where the psychopathic Darlene Snell (Lisa Emery) is intent on having a child to grow up with on her remote ranch. The sense of tension there is recreated here, exacerbated by the movie's extremely slow (read "glacial") pace in its early stages. It's the same sort of rising dread that I felt with "Nocturnal Animals". This reaches its peak at a tense standoff over lamb chops at the Weboy ranch, but we are probably half-way into the film by then.
The slow pace however is broken by a couple of extremely violent scenes that earn the movie its UK-15 certificate. One (no spoilers here!) harks back to another Kevin Costner blockbuster where he was a bit luckier! And the finale turns a slightly sleepy tale of "two old folks" into an 'all guns blazing' action western that's highly unexpected. Although you could argue that this is tonally extremely uneven, it works and makes the movie a lot more memorable than it otherwise would be.
The standout leading performance here is the one from Diane Lane as the mentally tortured Granny pursuing her convictions across the country. Here writer/director Thomas Bezucha gives the character full rein. It's a memorable 'strong female' part, that would have been dominated by the male lead in the writing of films a few years back. Lane delivers a dramatic and rock-solid performance that has Oscar nomination written all over it.
I'm also a big fan of Kevin Costner, not just because he's a solid and reliable actor over many years. I always remember him gamely appearing as "The Postman"/'propeller-guy' in Billy Crystal's hilarious montage opening for the 70th Academy Awards. Anyhow, here he has his meatiest dramatic role in many years, and delivers fully on it. Top job, although I suspect this may not be his year for his elusive Best Actor award.
Finally, rounding out the Oscar hopefuls is the brilliant Lesley Manville as Blanche Weboy. It's a dream of a role for the Brighton-born star, nominated of course for the Best Supporting Actress two years ago for "Phantom Thread". And she is genuinely chilling here, firing on all cylinders like some sort of deranged Bette Davis on speed. She's used sparingly in the movie, but that makes her scenes all the more memorable. Another nomination perhaps? I'd predict so, yes.
I found this to be an uncomfortable watch, since I found myself in a moral quandary with the storyline. It's clear that Margaret is genuinely concerned for the safety of Jimmy (and less so, Lorna). Yet, what she is ultimately prepared to do is consider child abduction, when the law if probably on the side of the other party. Sure, the lifestyle and attitudes of the Weboys are alien to this more traditional "Granny". But although Blanche rules with a Victorian-level of grit, isn't she - at least before any of her more vicious tendencies emerge - entitled to do that? The film firmly roots itself behind the Blackledge's as "the good guys", but the script cleverly has you questioning that at various points,
Two technical categories in "Let Him Go" are also worthy of note. The cinematography is by Guy Godfree, and the sweeping vistas of Montana and North Dakota (actually Alberta in Canada!) are gloriously delivered. And the music by Michael Giacchino - one of my favourite composers - is cello-heavy and fitting for the sombre storyline. I always assess the quality of a score by whether I annoy the cinema cleaners by sitting until the last of the end credits have rolled, and this is one I did that to.
As the last movie I see before Christmas, "Let Him Go" is not exactly a feelgood festive offering. It's a well-crafted and thoughtful story, but not one to make you feel good inside, for the reasons outlined above. If you are a movie-lover though, then it's an interesting watch, if only for the fine acting performances on offer.
(For the full graphical review, please check out the "Bob the Movie Man" review on the web here - https://bob-the-movie-man.com/2020/12/23/let-him-go-is-not-a-joyous-affair-but-delivers-oscar-worthy-performances/. Thanks.)
There are strong similarities in this story with a sub-plot of the excellent "Ozark", where the psychopathic Darlene Snell (Lisa Emery) is intent on having a child to grow up with on her remote ranch. The sense of tension there is recreated here, exacerbated by the movie's extremely slow (read "glacial") pace in its early stages. It's the same sort of rising dread that I felt with "Nocturnal Animals". This reaches its peak at a tense standoff over lamb chops at the Weboy ranch, but we are probably half-way into the film by then.
The slow pace however is broken by a couple of extremely violent scenes that earn the movie its UK-15 certificate. One (no spoilers here!) harks back to another Kevin Costner blockbuster where he was a bit luckier! And the finale turns a slightly sleepy tale of "two old folks" into an 'all guns blazing' action western that's highly unexpected. Although you could argue that this is tonally extremely uneven, it works and makes the movie a lot more memorable than it otherwise would be.
The standout leading performance here is the one from Diane Lane as the mentally tortured Granny pursuing her convictions across the country. Here writer/director Thomas Bezucha gives the character full rein. It's a memorable 'strong female' part, that would have been dominated by the male lead in the writing of films a few years back. Lane delivers a dramatic and rock-solid performance that has Oscar nomination written all over it.
I'm also a big fan of Kevin Costner, not just because he's a solid and reliable actor over many years. I always remember him gamely appearing as "The Postman"/'propeller-guy' in Billy Crystal's hilarious montage opening for the 70th Academy Awards. Anyhow, here he has his meatiest dramatic role in many years, and delivers fully on it. Top job, although I suspect this may not be his year for his elusive Best Actor award.
Finally, rounding out the Oscar hopefuls is the brilliant Lesley Manville as Blanche Weboy. It's a dream of a role for the Brighton-born star, nominated of course for the Best Supporting Actress two years ago for "Phantom Thread". And she is genuinely chilling here, firing on all cylinders like some sort of deranged Bette Davis on speed. She's used sparingly in the movie, but that makes her scenes all the more memorable. Another nomination perhaps? I'd predict so, yes.
I found this to be an uncomfortable watch, since I found myself in a moral quandary with the storyline. It's clear that Margaret is genuinely concerned for the safety of Jimmy (and less so, Lorna). Yet, what she is ultimately prepared to do is consider child abduction, when the law if probably on the side of the other party. Sure, the lifestyle and attitudes of the Weboys are alien to this more traditional "Granny". But although Blanche rules with a Victorian-level of grit, isn't she - at least before any of her more vicious tendencies emerge - entitled to do that? The film firmly roots itself behind the Blackledge's as "the good guys", but the script cleverly has you questioning that at various points,
Two technical categories in "Let Him Go" are also worthy of note. The cinematography is by Guy Godfree, and the sweeping vistas of Montana and North Dakota (actually Alberta in Canada!) are gloriously delivered. And the music by Michael Giacchino - one of my favourite composers - is cello-heavy and fitting for the sombre storyline. I always assess the quality of a score by whether I annoy the cinema cleaners by sitting until the last of the end credits have rolled, and this is one I did that to.
As the last movie I see before Christmas, "Let Him Go" is not exactly a feelgood festive offering. It's a well-crafted and thoughtful story, but not one to make you feel good inside, for the reasons outlined above. If you are a movie-lover though, then it's an interesting watch, if only for the fine acting performances on offer.
(For the full graphical review, please check out the "Bob the Movie Man" review on the web here - https://bob-the-movie-man.com/2020/12/23/let-him-go-is-not-a-joyous-affair-but-delivers-oscar-worthy-performances/. Thanks.)
Movie Metropolis (309 KP) rated Jurassic World (2015) in Movies
Jun 10, 2019
A Trip down memory lane
Can you believe it’s been 14 years since genetically modified dinosaurs rampaged across our screens in Joe Johnston’s underwhelming Jurassic Park III?
After being stuck in development hell for over a decade, Steven Spielberg handpicked indie director Colin Trevorrow to helm the fourth instalment of the popular adventure franchise, Jurassic World, but can it return the much-loved series to form?
Man of the moment Chris Pratt (Guardians of the Galaxy), Bryce Dallas Howard (The Village), Ty Simpkins (Iron Man 3) and Omar Sy (X-Men: Days of Future Past) lead a cast of characters in a visually spectacular film that whilst paying homage to 1993’s Jurassic Park, lacks a little of the original’s soul.
Jurassic World is now a fully functioning theme park taken over from John Hammond’s InGen by Simon Masrani (Irrfan Khan in a pleasingly comedic performance). Welcoming over 20,000 visitors a day, the park sees the need to create something bigger, louder and with more teeth to sustain visitor interest – the Indominus Rex.
Naturally, this doesn’t go quite to plan.
The performances from all of the cast are on-point with Bryce Dallas Howard being a particular highlight. There were worries that her ability would match Tea Leoni from Jurassic Park III rather than Laura Dern’s brilliant Ellie Sattler from the original. Thankfully, this isn’t the case.
Her story arc is particularly intriguing if predictable with her uptight corporate image being shed throughout the film’s succinct 123 minute running time.
Chris Pratt proves why he is the man every director wants to work with. His less comedic side comes out in Jurassic World and proves that he has the acting chops to go with his good looks.
Vincent D’Onofrio stars as the obligatory villain but his side story is never really explored – possibly setting up for a sequel should the film perform well at the box office and with it making up 90% of global ticket sales this weekend, things look promising.
Music wise, Jurassic World treads a very careful path. Make no mistake, this is a standalone movie, but the references to the original are there for all to hear. Michael Giacchino, one of the best composers of the moment, takes over from Don Davis of Jurassic Park III and provides the series with its best score since John Williams’ original.
Special effects too are top notch with the park looking stunning and the dinosaurs, on the whole, faring the same way. There are a couple of moments where things start to look a little video game like, but this never takes away from the beauty of this film.
Unfortunately, whilst the last 30 minutes are breath-taking, edge of your seat stuff, it’s difficult to differentiate Jurassic World from the plethora of high budget blockbusters that litter the cinema these days and whilst Trevorrow chooses references to the original carefully, it lacks a little of that film’s soul and ultimately charm.
Overall, Jurassic World is better than the majority of blockbusters that have come and gone from cinemas over the last year and it tops The Lost World: Jurassic Park and Jurassic Park III to become a sequel worthy of the original.
Yes it’s not perfect, with the gorgeous finale lacking substance, but after waiting 14 years it comes pretty darn close and will no doubt be, along with Star Wars: Episode VII, one of the most memorable films of the noughties.
Do you remember seeing Jurassic Park for the first time? That’s the question everyone asks, and whilst Jurassic World won’t be making anywhere near the same impact, it’s a film worthy of the brand.
https://moviemetropolis.net/2015/06/14/a-trip-down-memory-lane-jurassic-world-review/
After being stuck in development hell for over a decade, Steven Spielberg handpicked indie director Colin Trevorrow to helm the fourth instalment of the popular adventure franchise, Jurassic World, but can it return the much-loved series to form?
Man of the moment Chris Pratt (Guardians of the Galaxy), Bryce Dallas Howard (The Village), Ty Simpkins (Iron Man 3) and Omar Sy (X-Men: Days of Future Past) lead a cast of characters in a visually spectacular film that whilst paying homage to 1993’s Jurassic Park, lacks a little of the original’s soul.
Jurassic World is now a fully functioning theme park taken over from John Hammond’s InGen by Simon Masrani (Irrfan Khan in a pleasingly comedic performance). Welcoming over 20,000 visitors a day, the park sees the need to create something bigger, louder and with more teeth to sustain visitor interest – the Indominus Rex.
Naturally, this doesn’t go quite to plan.
The performances from all of the cast are on-point with Bryce Dallas Howard being a particular highlight. There were worries that her ability would match Tea Leoni from Jurassic Park III rather than Laura Dern’s brilliant Ellie Sattler from the original. Thankfully, this isn’t the case.
Her story arc is particularly intriguing if predictable with her uptight corporate image being shed throughout the film’s succinct 123 minute running time.
Chris Pratt proves why he is the man every director wants to work with. His less comedic side comes out in Jurassic World and proves that he has the acting chops to go with his good looks.
Vincent D’Onofrio stars as the obligatory villain but his side story is never really explored – possibly setting up for a sequel should the film perform well at the box office and with it making up 90% of global ticket sales this weekend, things look promising.
Music wise, Jurassic World treads a very careful path. Make no mistake, this is a standalone movie, but the references to the original are there for all to hear. Michael Giacchino, one of the best composers of the moment, takes over from Don Davis of Jurassic Park III and provides the series with its best score since John Williams’ original.
Special effects too are top notch with the park looking stunning and the dinosaurs, on the whole, faring the same way. There are a couple of moments where things start to look a little video game like, but this never takes away from the beauty of this film.
Unfortunately, whilst the last 30 minutes are breath-taking, edge of your seat stuff, it’s difficult to differentiate Jurassic World from the plethora of high budget blockbusters that litter the cinema these days and whilst Trevorrow chooses references to the original carefully, it lacks a little of that film’s soul and ultimately charm.
Overall, Jurassic World is better than the majority of blockbusters that have come and gone from cinemas over the last year and it tops The Lost World: Jurassic Park and Jurassic Park III to become a sequel worthy of the original.
Yes it’s not perfect, with the gorgeous finale lacking substance, but after waiting 14 years it comes pretty darn close and will no doubt be, along with Star Wars: Episode VII, one of the most memorable films of the noughties.
Do you remember seeing Jurassic Park for the first time? That’s the question everyone asks, and whilst Jurassic World won’t be making anywhere near the same impact, it’s a film worthy of the brand.
https://moviemetropolis.net/2015/06/14/a-trip-down-memory-lane-jurassic-world-review/
Joe Goodhart (27 KP) rated The Man Of Steel in Books
Nov 30, 2020
If you know me, you know that I have a strong dislike for the writing by Brian Michael Bendis. His last few years before his journey to DC Comics, the work he did on the X-titles, as well as GUARDIANS OF THE GALAXY, it was just rubbish! It was the end result of someone who clearly needed a change of scenery and a more focused editor! After reading this, I feel confident that what I just wrote, as well as feeling, is pretty close to the truth, as this, his first work for DC, was frikkin' A-MAZ-ING!
While I have a great love of Marvel (preferrably older stuff, as the new stuff is starting to stink like yesterday's diapers!), I also have a great love of DC (the comics, not the nation's capital, which stinks as well, but of ignorance, racism, and misogyny), especially Superman, a hero who has never been more needed than he is needed now! It is very apparent that BMB has a great love/admiration of the Big 'S'!
His Clark Kent is written different from Superman, making the <i>illusion</i> that much easier to swallow once the glasses and suit goes on over his costume. The character does not appear as "mild mannered" as he was originally conceived, but he also is not mean or off-putting. He is still an alien, but he embraced our customs, and the end result is quite pleasing, especially with the toxicity that exists with the US at this point in time!
Equally well written is BMB's handling of Lois Lane and Jon, her and Kal-El's son. Lois is both a successful, highly competent writer, but she is also a mother. Not an overbear, bitchy mom, but someone who cares for her son, as much as she cares for her husband. The boy, Jon, is written like a normal boy his age, but without that precociousness that seems to be given to young'uns his age on TV!
As I am so prone to do in my other reviews, I want to give credit to the art side of this tale. The artists (yes, artists, Plural.) on board is quite a top shelf gathering. Jim Lee handles the first issue, while Ivan Reis (BLACKEST NIGHT), Steve Rude (NEXUS), Jay Fabok (New 52 JUSTICE LEAGUE), and even Ryan Sook! What a heckuva good way to start your beginnings with DC!
While some are apt to disagree, Superman needs the red shorts! And, that, my friends, was Bendis' first order of business on taking on the Man of Steel! I look forward to seeing where he goes with Superman, as the character is one that many love, and many will expect something good! If this is the beginning, I can't wait to see where the rest of this ride takes us!
While I have a great love of Marvel (preferrably older stuff, as the new stuff is starting to stink like yesterday's diapers!), I also have a great love of DC (the comics, not the nation's capital, which stinks as well, but of ignorance, racism, and misogyny), especially Superman, a hero who has never been more needed than he is needed now! It is very apparent that BMB has a great love/admiration of the Big 'S'!
His Clark Kent is written different from Superman, making the <i>illusion</i> that much easier to swallow once the glasses and suit goes on over his costume. The character does not appear as "mild mannered" as he was originally conceived, but he also is not mean or off-putting. He is still an alien, but he embraced our customs, and the end result is quite pleasing, especially with the toxicity that exists with the US at this point in time!
Equally well written is BMB's handling of Lois Lane and Jon, her and Kal-El's son. Lois is both a successful, highly competent writer, but she is also a mother. Not an overbear, bitchy mom, but someone who cares for her son, as much as she cares for her husband. The boy, Jon, is written like a normal boy his age, but without that precociousness that seems to be given to young'uns his age on TV!
As I am so prone to do in my other reviews, I want to give credit to the art side of this tale. The artists (yes, artists, Plural.) on board is quite a top shelf gathering. Jim Lee handles the first issue, while Ivan Reis (BLACKEST NIGHT), Steve Rude (NEXUS), Jay Fabok (New 52 JUSTICE LEAGUE), and even Ryan Sook! What a heckuva good way to start your beginnings with DC!
While some are apt to disagree, Superman needs the red shorts! And, that, my friends, was Bendis' first order of business on taking on the Man of Steel! I look forward to seeing where he goes with Superman, as the character is one that many love, and many will expect something good! If this is the beginning, I can't wait to see where the rest of this ride takes us!
Bob Mann (459 KP) rated Mary Poppins Returns (2018) in Movies
Sep 28, 2021
A valiant attempt to recreate a masterpiece.
How do you repaint a masterpiece: the Mona Lisa of children’s fantasy cinema? Some would say “You shouldn’t try”.
As I’ve said before, Mary Poppins was the first film I saw when it came out (or soon afterwards) at a very impressionable age…. I was said to have bawled my eyes out with “THE MAGIC NANNY IS GOING AWAY!!” as Julie Andrews floated off! So as my last cinema trip of 2018 I went to see this sequel, 54 years after the original, with a sense of dread. I’m relieved to say that although the film has its flaws it’s by no means the disaster I envisaged.
The plot
It’s a fairly lightweight story. Now all grown up, young Michael from the original film (Ben Whishaw) has his own family. His troubles though come not singly but in battalions since not only is he grieving a recent loss but he is also about to be evicted from 17 Cherry Tree Lane. Help is at hand in that his father, George Banks, had shares with the Fidelity Fiduciary Bank. But despite their best efforts neither he, his sister Jane (Emily Mortimer) nor their chirpy “strike a light” lamplighter friend Jack (Lin-Manuel Miranda) can find the all-important share certificates. With the deadline from bank manager Wilkins (Colin Firth) approaching, it’s fortuitous that Mary Poppins (Emily Blunt) drops in to look after the Banks children – John (Nathanael Saleh), Anabel (Pixie Davies) and Georgie (Joel Dawson) – in her own inimitable fashion.
Songs that are more Meh-ry Poppins
I know musical taste is very personal. My biggest problem with the film though was that the songs by Marc Shaiman were, to me, on the lacklustre side. Only one jumped out and struck me: the jaunty vaudeville number “A Cover is not the Book”. Elsewhere they were – to me – unmemorable and nowhere near as catchy as those of “The Greatest Showman“. (What amplified this for me was having some of the classic Sherman-brothers themes woven into the soundtrack that just made me realise what I was missing!) Richard M Sherman – now 90 – was credited with “Music Consultant” but I wonder how much input he actually had?
The other flaws
Another issue I had with the film was that it just tried WAAYYY too hard to tick off the key attributes of the original:
‘Mary in the mirror’ – check
‘Bottomless carpet bag’ – check
‘Initial fun in the nursery’ – check
‘Quirky trip to a cartoon land’ – check
‘Dance on the ceiling with a quirky relative’ – check
‘Chirpy chimney sweeps’ – check (“Er… Mr Marshall… we couldn’t get chimney sweeps… will lamplighters do?” “Yeah, good enough”)
Another thing that struck me about the film – particularly as a film aimed at kids – is just how long it is. At 2 hours and 10 minutes it’s a bladder-testing experience for adults let alone younger children. (It’s worth noting that this is still 9 minutes shorter than the original, but back in the 60’s we had FAR fewer options to be stimulated by entertainment and our attention spans were – I think – much longer as a result!)
What it does get right
But with this whinging aside, the film does get a number of things spit-spot on.
Emily Blunt is near perfection as Poppins. (In the interests of balance my wife found her bizarrely clipped accent very grating, but I suspect P.L. Travers would have approved!). Broadway star Lin-Manuel Miranda also does a good job as Jack, although you wonder whether the ‘society of cockney actors’ must again be in a big grump about the casting! I found Emily Mortimer just delightful as the grown-up Jane, although Ben Whishaw‘s Michael didn’t particularly connect with me.
Almost unrecognisable was David Warner as the now wheelchair-bound Admiral Boom. His first mate is none other than Jim Norton of “Father Ted” Bishop Brennan fame (thanks to my daughter Jenn for pointing that one out)!
Also watch out (I’d largely missed it before I realised!) for a nice pavement cameo by Karen Dotrice, the original Jane, asking directions to number 19 Cherry Tree Lane.
What the film also gets right is to implement the old-school animation of the “Jolly Holidays” segment of the original. That’s a really smart move. Filmed at Shepperton Studios in London, this is once again a great advert for Britain’s film technicians. The London sets and the costumes (by the great Sandy Powell) are just superb.
Some cameo cherries on the cake
Finally, the aces in the hole are the two cameos near the end of the film. And they would have been lovely surprises as well since neither name appears in the opening credits. It’s therefore a CRYING SHAME that they chose to let the cat out of the bag in the trailer (BLOODY MARKETING EXECS!). In case you haven’t seen the trailer, I won’t spoil it for you here. But as a magical movie experience the first of those cameos moved me close to tears. He also delivers a hum-dinger of a plot twist that is a genuinely welcome crossover from the first film.
Final Thoughts
Rob Marshall directs, and with a pretty impossible task he delivers an end-product that, while it didn’t completely thrill me, did well not to trash my delicate hopes and dreams either. Having just listened to Kermode and Mayo’s review (and it seems that Mark Kermode places Poppins on a similar pedestal to me) the songs (and therefore the “Place Where Lost Things Go” song) just didn’t resonate with me in the same way, and so, unlike Kermode, I mentally never bridged the gap to safely enjoying it.
But what we all think is secondary. Because if some three or four year old out there gets a similarly lifelong love of the cinema by watching this, then that’s all that matters.
As I’ve said before, Mary Poppins was the first film I saw when it came out (or soon afterwards) at a very impressionable age…. I was said to have bawled my eyes out with “THE MAGIC NANNY IS GOING AWAY!!” as Julie Andrews floated off! So as my last cinema trip of 2018 I went to see this sequel, 54 years after the original, with a sense of dread. I’m relieved to say that although the film has its flaws it’s by no means the disaster I envisaged.
The plot
It’s a fairly lightweight story. Now all grown up, young Michael from the original film (Ben Whishaw) has his own family. His troubles though come not singly but in battalions since not only is he grieving a recent loss but he is also about to be evicted from 17 Cherry Tree Lane. Help is at hand in that his father, George Banks, had shares with the Fidelity Fiduciary Bank. But despite their best efforts neither he, his sister Jane (Emily Mortimer) nor their chirpy “strike a light” lamplighter friend Jack (Lin-Manuel Miranda) can find the all-important share certificates. With the deadline from bank manager Wilkins (Colin Firth) approaching, it’s fortuitous that Mary Poppins (Emily Blunt) drops in to look after the Banks children – John (Nathanael Saleh), Anabel (Pixie Davies) and Georgie (Joel Dawson) – in her own inimitable fashion.
Songs that are more Meh-ry Poppins
I know musical taste is very personal. My biggest problem with the film though was that the songs by Marc Shaiman were, to me, on the lacklustre side. Only one jumped out and struck me: the jaunty vaudeville number “A Cover is not the Book”. Elsewhere they were – to me – unmemorable and nowhere near as catchy as those of “The Greatest Showman“. (What amplified this for me was having some of the classic Sherman-brothers themes woven into the soundtrack that just made me realise what I was missing!) Richard M Sherman – now 90 – was credited with “Music Consultant” but I wonder how much input he actually had?
The other flaws
Another issue I had with the film was that it just tried WAAYYY too hard to tick off the key attributes of the original:
‘Mary in the mirror’ – check
‘Bottomless carpet bag’ – check
‘Initial fun in the nursery’ – check
‘Quirky trip to a cartoon land’ – check
‘Dance on the ceiling with a quirky relative’ – check
‘Chirpy chimney sweeps’ – check (“Er… Mr Marshall… we couldn’t get chimney sweeps… will lamplighters do?” “Yeah, good enough”)
Another thing that struck me about the film – particularly as a film aimed at kids – is just how long it is. At 2 hours and 10 minutes it’s a bladder-testing experience for adults let alone younger children. (It’s worth noting that this is still 9 minutes shorter than the original, but back in the 60’s we had FAR fewer options to be stimulated by entertainment and our attention spans were – I think – much longer as a result!)
What it does get right
But with this whinging aside, the film does get a number of things spit-spot on.
Emily Blunt is near perfection as Poppins. (In the interests of balance my wife found her bizarrely clipped accent very grating, but I suspect P.L. Travers would have approved!). Broadway star Lin-Manuel Miranda also does a good job as Jack, although you wonder whether the ‘society of cockney actors’ must again be in a big grump about the casting! I found Emily Mortimer just delightful as the grown-up Jane, although Ben Whishaw‘s Michael didn’t particularly connect with me.
Almost unrecognisable was David Warner as the now wheelchair-bound Admiral Boom. His first mate is none other than Jim Norton of “Father Ted” Bishop Brennan fame (thanks to my daughter Jenn for pointing that one out)!
Also watch out (I’d largely missed it before I realised!) for a nice pavement cameo by Karen Dotrice, the original Jane, asking directions to number 19 Cherry Tree Lane.
What the film also gets right is to implement the old-school animation of the “Jolly Holidays” segment of the original. That’s a really smart move. Filmed at Shepperton Studios in London, this is once again a great advert for Britain’s film technicians. The London sets and the costumes (by the great Sandy Powell) are just superb.
Some cameo cherries on the cake
Finally, the aces in the hole are the two cameos near the end of the film. And they would have been lovely surprises as well since neither name appears in the opening credits. It’s therefore a CRYING SHAME that they chose to let the cat out of the bag in the trailer (BLOODY MARKETING EXECS!). In case you haven’t seen the trailer, I won’t spoil it for you here. But as a magical movie experience the first of those cameos moved me close to tears. He also delivers a hum-dinger of a plot twist that is a genuinely welcome crossover from the first film.
Final Thoughts
Rob Marshall directs, and with a pretty impossible task he delivers an end-product that, while it didn’t completely thrill me, did well not to trash my delicate hopes and dreams either. Having just listened to Kermode and Mayo’s review (and it seems that Mark Kermode places Poppins on a similar pedestal to me) the songs (and therefore the “Place Where Lost Things Go” song) just didn’t resonate with me in the same way, and so, unlike Kermode, I mentally never bridged the gap to safely enjoying it.
But what we all think is secondary. Because if some three or four year old out there gets a similarly lifelong love of the cinema by watching this, then that’s all that matters.
Movie Metropolis (309 KP) rated Batman v Superman: Dawn of Justice (2016) in Movies
Jun 10, 2019
The Transformers of the superhero genre
It feels like eons ago that Batman v Superman was announced as a genuine movie. Way back in 2007 there was a poster that seemed to signify DC Comic’s plans in I am Legend, but fans just thought of it as a pipedream.
Now, in 2016, the moment has finally arrived. The marketing campaign has been relentless, the trailers have been criticised for showing far too much (which they have), and Ben Affleck’s casting as Batman was met with disdain rather than joy. So what is the finished product like?
Superman has now become a controversial figure after his climactic battle with General Zod, with Batman in particular being cautious of his true plans for Earth. After a new threat is created, Doomsday, they must put aside their differences to save the planet.
Following on directly from the events of Man of Steel, director Zak Snyder brings together DC Comics’ biggest superheroes in a film as loud as anything Michael Bay served up in the Transformers series.
Henry Cavill returns as the god from above with Ben Affleck taking over duties from Christian Bale as the Dark Knight. Both of them give great performances with Cavill in particular impressing. Affleck proves his doubters wrong and is more than a match for Bale, though his one facial expression wears thin over the course of the film.
Elsewhere, Jesse Eisenberg takes on the role of Lex Luthor in a portrayal reminiscent of Johnny Depp’s Willy Wonka – eerily creepy and well-acted but just trying that little bit too hard. Amy Adams makes a welcome return as Lois Lane and gets much more screen time here than she did in Man of Steel.
However, the most praise has to go to Gal Gadot. Her exceptional characterisation of Wonder Woman is one of the movie’s highlights and it’s such a shame she takes a backseat to the two titular characters. It’s clear the filmmakers thought highly of her too, as she gets her own thundering theme tune whenever she appears.
Unfortunately, the plot is just too nondescript and completely incomprehensible at times, with Lex Luthor’s motives remaining unclear throughout the 150 minute running time. This proves increasingly hard to swallow as the film progresses and makes his villain feel less menacing than he should be.
Nevertheless, Batman v Superman is visually spectacular. Snyder bombards the audience with breath-taking set pieces, dispersing them well enough to ensure the plot only drags in a few areas, namely at the beginning – though the film’s flabby length is a sticking point; it simply doesn’t need to be nearly three hours long.
It may all sound pretty negative, but the exciting and beautifully filmed final act almost makes up for these shortcomings. We also get to see an emotional side to the genre, something that has been sorely lacking more recently with the constant quipping of the Marvel Universe.
Overall, Batman v Superman was never going to live up to the hype and in some ways it does fall short. The battle between Bat of Gotham and Son of Krypton is disappointingly brief and the story lacks any real weight, until the final 30 minutes. But it’s filmed in such a unique fashion and with such confidence; it’s quite possible you may not see anything like it in the genre again.
https://moviemetropolis.net/2016/03/27/the-transformers-of-the-superhero-genre-batman-v-superman-review/
Now, in 2016, the moment has finally arrived. The marketing campaign has been relentless, the trailers have been criticised for showing far too much (which they have), and Ben Affleck’s casting as Batman was met with disdain rather than joy. So what is the finished product like?
Superman has now become a controversial figure after his climactic battle with General Zod, with Batman in particular being cautious of his true plans for Earth. After a new threat is created, Doomsday, they must put aside their differences to save the planet.
Following on directly from the events of Man of Steel, director Zak Snyder brings together DC Comics’ biggest superheroes in a film as loud as anything Michael Bay served up in the Transformers series.
Henry Cavill returns as the god from above with Ben Affleck taking over duties from Christian Bale as the Dark Knight. Both of them give great performances with Cavill in particular impressing. Affleck proves his doubters wrong and is more than a match for Bale, though his one facial expression wears thin over the course of the film.
Elsewhere, Jesse Eisenberg takes on the role of Lex Luthor in a portrayal reminiscent of Johnny Depp’s Willy Wonka – eerily creepy and well-acted but just trying that little bit too hard. Amy Adams makes a welcome return as Lois Lane and gets much more screen time here than she did in Man of Steel.
However, the most praise has to go to Gal Gadot. Her exceptional characterisation of Wonder Woman is one of the movie’s highlights and it’s such a shame she takes a backseat to the two titular characters. It’s clear the filmmakers thought highly of her too, as she gets her own thundering theme tune whenever she appears.
Unfortunately, the plot is just too nondescript and completely incomprehensible at times, with Lex Luthor’s motives remaining unclear throughout the 150 minute running time. This proves increasingly hard to swallow as the film progresses and makes his villain feel less menacing than he should be.
Nevertheless, Batman v Superman is visually spectacular. Snyder bombards the audience with breath-taking set pieces, dispersing them well enough to ensure the plot only drags in a few areas, namely at the beginning – though the film’s flabby length is a sticking point; it simply doesn’t need to be nearly three hours long.
It may all sound pretty negative, but the exciting and beautifully filmed final act almost makes up for these shortcomings. We also get to see an emotional side to the genre, something that has been sorely lacking more recently with the constant quipping of the Marvel Universe.
Overall, Batman v Superman was never going to live up to the hype and in some ways it does fall short. The battle between Bat of Gotham and Son of Krypton is disappointingly brief and the story lacks any real weight, until the final 30 minutes. But it’s filmed in such a unique fashion and with such confidence; it’s quite possible you may not see anything like it in the genre again.
https://moviemetropolis.net/2016/03/27/the-transformers-of-the-superhero-genre-batman-v-superman-review/
Phillip McSween (751 KP) rated Ant-Man and the Wasp (2018) in Movies
Oct 2, 2018
Solid and Light
The micro-sized superhero is back on a new adventure with old friends.
Acting: 10
Beginning: 10
Ant-Man and the Wasp gets off to a solid start that grabs your attention from jump. The players are re-introduced fairly quickly and it’s not long before you remember why you missed this portion of the Marvel Cinematic Universe. While I felt there were definitely some big shoes to fill following behind and an Avengers film (and we all remember how that started, sorry Hulk), the first ten minutes left a big smile on my face.
Characters: 10
The gang is back and in full effect. Scott Lang (Paul Rudd) is just a man trying to live out his house arrest sentence so he can be free to spend more time with his daughter. He packs a hilarity and sincerity that I’ve come to appreciate in all of Rudd’s roles. He is a star…but this film wouldn’t survive without Luis (Michael Pena). He’s frantic, clueless, and gives out way too many details every chance he gets. He innocently has no filter and it makes for some serious rib-splitting moments. Just thinking about it now makes me want to go back for a rewatch.
Cinematography/Visuals: 10
Hands-down some of the best special effects you will see in a Marvel film. I have immense respect for the larger-than-life setpieces they create when the characters are ant-sized. It’s like an entirely different world a la Honey I Shrunk the Kids. The transition from large-to-small and vice versa is seamless, making for perfect action sequences.
Conflict: 10
The film has everything you could want from an action standpoint. Car chases? Check. Fight scenes? Top notch. Superhero action? Yes please!
I’ve seen some critics come down on the fact that the villain was less of a threat than previous Marvel films, but I believe the villain matched perfectly with the overall tone of this sequel. Besides, how do you follow up on Thanos? You go completely in the opposite direction. Last thing to note: Ghost wasn’t exactly a slouch. She kicked some serious butt throughout and had some great scenes.
Genre: 7
I think this has more to do with where the genre has come rather than a knock on the film itself. In a genre where the stakes are higher than ever, the screen is packed with stars, and more films are driving a point home with an actual message, Ant-Man and the Wasp is more of a light-hearted romp that doesn’t serve to take itself too seriously. It’s a fun film that does fun better than most.
Memorability: 9
Perfect blend of action and comedy. The film succeeds by staying in its lane and doing what it does best. The action sequences are creative and fresh while the storytelling comes at you in such a hilarious way, it makes itself stand out. No spoilers, just know you’re in for a treat.
Pace: 10
Plot: 7
Resolution: 10
Overall: 93
Looking for some good family fun that will keep you entertained and laughing. Don’t miss Ant-Man and the Wasp. Hands down one of the best films I have seen in 2018.
Acting: 10
Beginning: 10
Ant-Man and the Wasp gets off to a solid start that grabs your attention from jump. The players are re-introduced fairly quickly and it’s not long before you remember why you missed this portion of the Marvel Cinematic Universe. While I felt there were definitely some big shoes to fill following behind and an Avengers film (and we all remember how that started, sorry Hulk), the first ten minutes left a big smile on my face.
Characters: 10
The gang is back and in full effect. Scott Lang (Paul Rudd) is just a man trying to live out his house arrest sentence so he can be free to spend more time with his daughter. He packs a hilarity and sincerity that I’ve come to appreciate in all of Rudd’s roles. He is a star…but this film wouldn’t survive without Luis (Michael Pena). He’s frantic, clueless, and gives out way too many details every chance he gets. He innocently has no filter and it makes for some serious rib-splitting moments. Just thinking about it now makes me want to go back for a rewatch.
Cinematography/Visuals: 10
Hands-down some of the best special effects you will see in a Marvel film. I have immense respect for the larger-than-life setpieces they create when the characters are ant-sized. It’s like an entirely different world a la Honey I Shrunk the Kids. The transition from large-to-small and vice versa is seamless, making for perfect action sequences.
Conflict: 10
The film has everything you could want from an action standpoint. Car chases? Check. Fight scenes? Top notch. Superhero action? Yes please!
I’ve seen some critics come down on the fact that the villain was less of a threat than previous Marvel films, but I believe the villain matched perfectly with the overall tone of this sequel. Besides, how do you follow up on Thanos? You go completely in the opposite direction. Last thing to note: Ghost wasn’t exactly a slouch. She kicked some serious butt throughout and had some great scenes.
Genre: 7
I think this has more to do with where the genre has come rather than a knock on the film itself. In a genre where the stakes are higher than ever, the screen is packed with stars, and more films are driving a point home with an actual message, Ant-Man and the Wasp is more of a light-hearted romp that doesn’t serve to take itself too seriously. It’s a fun film that does fun better than most.
Memorability: 9
Perfect blend of action and comedy. The film succeeds by staying in its lane and doing what it does best. The action sequences are creative and fresh while the storytelling comes at you in such a hilarious way, it makes itself stand out. No spoilers, just know you’re in for a treat.
Pace: 10
Plot: 7
Resolution: 10
Overall: 93
Looking for some good family fun that will keep you entertained and laughing. Don’t miss Ant-Man and the Wasp. Hands down one of the best films I have seen in 2018.