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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).
RəX Regent (349 KP) rated Rogue One: A Star Wars Story (2016) in Movies
Feb 20, 2019
This is not the first Star Wars spin-off, but it is joining a legacy of sub par entries to the franchise, certainly as where the big screen has been concerned, with two Ewoks movies and The Clone Wars TV pilot come movie to contend with. But Rogue One is first to take on the mantle of a blockbuster and attempt to compete with the very best of the Saga, if not join them.
In many ways, Rogue One is the prequel that we have been waiting for, taking place directly before the original movie, A New Hope, Gareth Edwards of Monsters (2010) and Godzilla fame, has managed to create a fan boy's dream following the events which are mentioned in the opening crawl for that classic movie, the theft of the Death Star plans which would ultimately lead to Luke Skywalker's "shot in a million" to destroy the moon sized planet killer.
But here, the task was to both take Star Wars in new new direction as well as to flesh out the story of the Star Wars saga itself. They manage to pull this off with the only real complaint being the pacing which is sporadic at best. With a combination of contrived plotting and uneven pacing, the starker, war movie which this is, can feel at times, like a check list of everything that fans have wanted to see on the big screen since 1983 and as such, runs the risk of being a vacuous, through-away movie, the "greatest hits" as it were.
But I feel that it skirts this issue and manages to stay on the side of narrative integrity, just about. We finally see Darth Vader, post Episode III for the first time in a life action film since 2005, something which the prequels failed to deliver and whilst at first it seemed to be a crowd pleasing cameo, by the finale, it paid off perfectly, as did the resurrection of the late Peter Cushing's Grand Moff Tarkin, with the aid of ground breaking, if not morally questionable CGI effects. This was also used to bring us a cameo from Princess Laia (1977) to great effect.
Also, integrating stock footage of the original Red and Gold Squadron pilots from Star Wars (1977) and the demise of the original Red 5, who's place Luke Skywalker would assume, were all nice touches.
In the end, at best Rogue One serves to turn the original Star Wars movie into and two part epic, with this movie seamlessly leading into the opening of Star Wars but how does it hold up in its own right?
Well, it is entertaining, well acted, if not let down by Gareth Edwards' slightly uneven direction, but how the notorious re-shoots, which have clearly left several key shots form the trailers on the cutting room floor and possibly changes the finale significantly, effected this is as yet unknown, and Michael Giacchino's slightly over the top bombastic score, Rogue One will certainly be an entertaining and action packed entry into the Star Wars universe.
But the true success of this film lies with its expansion of the Saga as a whole, bridging the less popular prequels with the original trilogy for the first time on the big screen, taking on finally, what J.J. Abrams' The Force Awakens (2015) deliberately chose not too. Hopefully Episode VIII (2017) follow in the same vein, finally repairing some of the issues which Lucas' much derided prequels, which at their heart, may have had much more to offer than Lucas' poor direction let us see the first time around.
In many ways, Rogue One is the prequel that we have been waiting for, taking place directly before the original movie, A New Hope, Gareth Edwards of Monsters (2010) and Godzilla fame, has managed to create a fan boy's dream following the events which are mentioned in the opening crawl for that classic movie, the theft of the Death Star plans which would ultimately lead to Luke Skywalker's "shot in a million" to destroy the moon sized planet killer.
But here, the task was to both take Star Wars in new new direction as well as to flesh out the story of the Star Wars saga itself. They manage to pull this off with the only real complaint being the pacing which is sporadic at best. With a combination of contrived plotting and uneven pacing, the starker, war movie which this is, can feel at times, like a check list of everything that fans have wanted to see on the big screen since 1983 and as such, runs the risk of being a vacuous, through-away movie, the "greatest hits" as it were.
But I feel that it skirts this issue and manages to stay on the side of narrative integrity, just about. We finally see Darth Vader, post Episode III for the first time in a life action film since 2005, something which the prequels failed to deliver and whilst at first it seemed to be a crowd pleasing cameo, by the finale, it paid off perfectly, as did the resurrection of the late Peter Cushing's Grand Moff Tarkin, with the aid of ground breaking, if not morally questionable CGI effects. This was also used to bring us a cameo from Princess Laia (1977) to great effect.
Also, integrating stock footage of the original Red and Gold Squadron pilots from Star Wars (1977) and the demise of the original Red 5, who's place Luke Skywalker would assume, were all nice touches.
In the end, at best Rogue One serves to turn the original Star Wars movie into and two part epic, with this movie seamlessly leading into the opening of Star Wars but how does it hold up in its own right?
Well, it is entertaining, well acted, if not let down by Gareth Edwards' slightly uneven direction, but how the notorious re-shoots, which have clearly left several key shots form the trailers on the cutting room floor and possibly changes the finale significantly, effected this is as yet unknown, and Michael Giacchino's slightly over the top bombastic score, Rogue One will certainly be an entertaining and action packed entry into the Star Wars universe.
But the true success of this film lies with its expansion of the Saga as a whole, bridging the less popular prequels with the original trilogy for the first time on the big screen, taking on finally, what J.J. Abrams' The Force Awakens (2015) deliberately chose not too. Hopefully Episode VIII (2017) follow in the same vein, finally repairing some of the issues which Lucas' much derided prequels, which at their heart, may have had much more to offer than Lucas' poor direction let us see the first time around.
Justin Patchett (42 KP) rated Inception (2010) in Movies
Mar 13, 2019
Masterful visuals, including many practical effects wonders (1 more)
Extraordinary score by Hans Zimmer
Relationships bud in the film, but feel forced (1 more)
A few plot-holes, albeit none thoroughly distracting
Contains spoilers, click to show
With two of the most scathing reviews I’ve written under my belt, I figured it was time to write about my favorite movie of all time, Christopher Nolan’s “Inception.”
“Inception” revolves around Dom Cobb (Leonardo DiCaprio), a spy who uses military-grade technology and shared dreams to extract information from his marks. He and his team are unwittingly tested by their latest target, Mr. Saito (Ken Watanabe) for recruitment into a different kind of job: Inception, a type of job using the same skills and technology to implant an idea. In particular, Saito calls on Cobb to plant an idea on his business competitor, Robert Fischer (Cillian Murphy). In spite of his reluctancy about this type of job, Saito’s offer to clear Cobb of a murder charge sways Cobb in favor of taking the job.
Cobb gathers new help, including Ariadne (Ellen Page), an architect he finds capable of creating complex labyrinths. With the help of a deep sedative, the team is able to make Fischer have dreams within dreams within dreams, a method that makes the mark more receptive to the implanted idea. It comes with a cost, though: The dreams become more unstable as they continue going deeper into the dream world, and the sedative itself creates the risk of actual death within the dream.
First of all, let’s talk cast. Already, we’ve got four top-grade talents named, but we also have Joseph Gordon-Levitt as Arthur, Cobb’s point man, Tom Hardy as Eames, a forger, and additional roles filled by Marion Cotillard and Michael Caine. Nolan did not lack for talent in this one, and by gosh it shows.
Visually, “Inception” excels most with making the impossible as real as cinema can make it. Throughout the film, characters are able to manipulate the rules of the dream world, making for moments where fruit explodes, cities bend, and stairwells become endless. Beyond portraying the impossible, though, the film has to show the real world, too. In those scenes, an aesthetic that can’t exactly be placed takes over. The technology has a slightly retro-futuristic feel to it, while the fashion and settings rely on classic tastes. Even Hans Zimmer’s score, which samples from the work of vocalist Edith Piaf, contributes to the chronological ambiguity of the movie. By not being able to place the film’s setting in any particular year or even decade, it seems prepackaged to become a classic film.
Speaking of Zimmer, he’s is at his best with this score. The complexity of the film reflects in a layered score, and listening to it on its own is its own sort of treat. It’s one of those symphonic recordings that the listener will pick out something they never noticed before every time.
But even above the stellar cast and visuals that have inspired reality-bending sequences in films since, this film’s biggest success is its use of approachable themes and concepts to tell a story within a story. Nearly a decade after its initial release, fans have widely circulated the idea that “Inception” is a film about storytelling. Concepts as basic as nesting stories within stories play out many ways across the plot. It also plays with common experiences in dreams, turning experiences like the feeling of falling into tools for Cobb’s team to exploit. Essentially, if you can dream, you already have a primer in this film’s core principles.
It’s not without flaws, as no film is. Certain moments fail to hold up upon closer inspection. For instance, the relationship between Ariadne and Arthur comes across forced. Those moments aside, from its foreshadowing opening to its meaningfully open-ended ending, “Inception” is an absolute marvel.
“Inception” revolves around Dom Cobb (Leonardo DiCaprio), a spy who uses military-grade technology and shared dreams to extract information from his marks. He and his team are unwittingly tested by their latest target, Mr. Saito (Ken Watanabe) for recruitment into a different kind of job: Inception, a type of job using the same skills and technology to implant an idea. In particular, Saito calls on Cobb to plant an idea on his business competitor, Robert Fischer (Cillian Murphy). In spite of his reluctancy about this type of job, Saito’s offer to clear Cobb of a murder charge sways Cobb in favor of taking the job.
Cobb gathers new help, including Ariadne (Ellen Page), an architect he finds capable of creating complex labyrinths. With the help of a deep sedative, the team is able to make Fischer have dreams within dreams within dreams, a method that makes the mark more receptive to the implanted idea. It comes with a cost, though: The dreams become more unstable as they continue going deeper into the dream world, and the sedative itself creates the risk of actual death within the dream.
First of all, let’s talk cast. Already, we’ve got four top-grade talents named, but we also have Joseph Gordon-Levitt as Arthur, Cobb’s point man, Tom Hardy as Eames, a forger, and additional roles filled by Marion Cotillard and Michael Caine. Nolan did not lack for talent in this one, and by gosh it shows.
Visually, “Inception” excels most with making the impossible as real as cinema can make it. Throughout the film, characters are able to manipulate the rules of the dream world, making for moments where fruit explodes, cities bend, and stairwells become endless. Beyond portraying the impossible, though, the film has to show the real world, too. In those scenes, an aesthetic that can’t exactly be placed takes over. The technology has a slightly retro-futuristic feel to it, while the fashion and settings rely on classic tastes. Even Hans Zimmer’s score, which samples from the work of vocalist Edith Piaf, contributes to the chronological ambiguity of the movie. By not being able to place the film’s setting in any particular year or even decade, it seems prepackaged to become a classic film.
Speaking of Zimmer, he’s is at his best with this score. The complexity of the film reflects in a layered score, and listening to it on its own is its own sort of treat. It’s one of those symphonic recordings that the listener will pick out something they never noticed before every time.
But even above the stellar cast and visuals that have inspired reality-bending sequences in films since, this film’s biggest success is its use of approachable themes and concepts to tell a story within a story. Nearly a decade after its initial release, fans have widely circulated the idea that “Inception” is a film about storytelling. Concepts as basic as nesting stories within stories play out many ways across the plot. It also plays with common experiences in dreams, turning experiences like the feeling of falling into tools for Cobb’s team to exploit. Essentially, if you can dream, you already have a primer in this film’s core principles.
It’s not without flaws, as no film is. Certain moments fail to hold up upon closer inspection. For instance, the relationship between Ariadne and Arthur comes across forced. Those moments aside, from its foreshadowing opening to its meaningfully open-ended ending, “Inception” is an absolute marvel.
Darren (1599 KP) rated American Assassin (2017) in Movies
Jun 20, 2019
Story: American Assassin starts as normal American Mitch Rapp (O’Brien) sees his fiancée gunned down by terrorists and himself left for dead, 18 months later he has trained himself to eliminate the men responsible but little does he know that CIA agent Irene Kennedy (Lathan) has been watching his action.
When Kennedy arranges to save Mitch from a certain death, she recruits him for a special section of the CIA working under Stan Hurley (Keaton) who trains agents to go undercover but if caught or killed no one will come for them.
The first mission is to locate nuclear weapon components before former agent Ghost (Kitsch) can use or sell them giving somebody in the world a nuclear bomb that can wipe out millions.
Thoughts on American Assassin
Characters – Mitch Rapp is an American that loses everything at the hands of terrorists, he learns combat and language skills to go undercover in the terrorist cell for revenge, he gets recruited by the CIA where he must learn discipline but this is where he struggles because he always wants to go after the criminal. This character does feel like a young Jack Bauer because of his rule breaking attitude for the right reasons. Stan Hurley is the off the grid trainer who takes Mitch as part of his unit, he gets tired of the Mitch’s lack of discipline but knows he needs him to capture his former student. Irene Kennedy is the deputy director of the CIA, she sees the potential in Mitch forcing Hurley to take him on, but also falls into the standard CIA director figure that will risk their reputation to prove others wrong. Ghost is the former trainee of Hurley that is using all the skills gained to stay one step ahead of him while collecting the nuclear components.
Performances – Dylan O’Brien is an actor that got into the young adult films but this role showed an adult character, showing he could go onto action films without looking like the complete actions star. Michael Keaton looks like he did enjoy the mentoring role while also getting the action role he isn’t known for. Sanaa Lathan is good in her role even if the character is very generic. Taylor Kitsch does seem to be on the recovering his career tour showing everyone just how talented he is in the villainous role.
Story – The story does play out like an origin story for Mitch Rapp in the CIA, we see what motivated him to accept the offer, we see what makes him different from other potential agents. We have the standard level of threat, potential nuclear weapon and a story of needing to learn discipline to become a top agent while keeping his unique traits. This is an easy to watch but could easily be an over the top pilot for a television show.
Action/Thriller – The action starts out brutal with the terrorist attack, we also fall into the car chases, fights and shoot outs which are fun to watch, the final action sequences is just popcorn wow.
Settings – The settings take us on a tour of Europe which is fine and is giving us an iconic location moment, which is easy to locate for us.
Special Effects – The effects in the opening sequence are brutal but then it just becomes by the book stuff.
Scene of the Movie – Speed Boat fight.
That Moment That Annoyed Me – While it started with violent level, it did turn into Jack Bauer origin feeling.
Chances of Sequel: Easily could have one.
Post Credits Scene: No
Final Thoughts – This is an action film that is fun but not one of the greatest of the year.
Overall: Fun action packed blast.
https://moviesreview101.com/2017/09/17/american-assassin-2017/
When Kennedy arranges to save Mitch from a certain death, she recruits him for a special section of the CIA working under Stan Hurley (Keaton) who trains agents to go undercover but if caught or killed no one will come for them.
The first mission is to locate nuclear weapon components before former agent Ghost (Kitsch) can use or sell them giving somebody in the world a nuclear bomb that can wipe out millions.
Thoughts on American Assassin
Characters – Mitch Rapp is an American that loses everything at the hands of terrorists, he learns combat and language skills to go undercover in the terrorist cell for revenge, he gets recruited by the CIA where he must learn discipline but this is where he struggles because he always wants to go after the criminal. This character does feel like a young Jack Bauer because of his rule breaking attitude for the right reasons. Stan Hurley is the off the grid trainer who takes Mitch as part of his unit, he gets tired of the Mitch’s lack of discipline but knows he needs him to capture his former student. Irene Kennedy is the deputy director of the CIA, she sees the potential in Mitch forcing Hurley to take him on, but also falls into the standard CIA director figure that will risk their reputation to prove others wrong. Ghost is the former trainee of Hurley that is using all the skills gained to stay one step ahead of him while collecting the nuclear components.
Performances – Dylan O’Brien is an actor that got into the young adult films but this role showed an adult character, showing he could go onto action films without looking like the complete actions star. Michael Keaton looks like he did enjoy the mentoring role while also getting the action role he isn’t known for. Sanaa Lathan is good in her role even if the character is very generic. Taylor Kitsch does seem to be on the recovering his career tour showing everyone just how talented he is in the villainous role.
Story – The story does play out like an origin story for Mitch Rapp in the CIA, we see what motivated him to accept the offer, we see what makes him different from other potential agents. We have the standard level of threat, potential nuclear weapon and a story of needing to learn discipline to become a top agent while keeping his unique traits. This is an easy to watch but could easily be an over the top pilot for a television show.
Action/Thriller – The action starts out brutal with the terrorist attack, we also fall into the car chases, fights and shoot outs which are fun to watch, the final action sequences is just popcorn wow.
Settings – The settings take us on a tour of Europe which is fine and is giving us an iconic location moment, which is easy to locate for us.
Special Effects – The effects in the opening sequence are brutal but then it just becomes by the book stuff.
Scene of the Movie – Speed Boat fight.
That Moment That Annoyed Me – While it started with violent level, it did turn into Jack Bauer origin feeling.
Chances of Sequel: Easily could have one.
Post Credits Scene: No
Final Thoughts – This is an action film that is fun but not one of the greatest of the year.
Overall: Fun action packed blast.
https://moviesreview101.com/2017/09/17/american-assassin-2017/
Gareth von Kallenbach (968 KP) rated The Wolfman (2010) in Movies
Aug 8, 2019
During the golden age of cinematic horror, Lon Chaney terrified audiences with his portrayal of the Wolfman which launched the character as a cultural mainstay.
Over the years there have been countless updates to the tale which ranged from Michael Landon in “I Was a Teenage Werewolf, to the more contemporary “An American Werewolf in London” and “Dog Soldiers”.
With remakes being all the rage in Hollywood, Universal has returned to the original source material to offer an updated version of the original classic.
Set in England near the start of the twentieth century, the film stars Benicio Del Toro as an actor named Lawrence who is summoned home when his brother goes missing. Upon returning to the lavish familial estate, he is greeted by his estranged father, (Sir Anthony Hopkins), who informs him that his brother mutilated body was discovered earlier.
Dismayed by the condition of his brother’s remains, Lawrence decides to stay and get to the bottom of the mystery. When a clue provided by his brother’s fiancé leads him to a Gypsy encampment, Lawrence learns of a curse, but before he can obtain the information he desires, the camp is attacked by a mysterious creature that leaves a horrific path of carnage in its wake and leaves Lawrence badly wounded from a bite.
Lawrence makes an amazing recovery from his wounds and in doing so raises the suspicions of the locals who now see Lawrence as cursed and a threat to their society.
Lawrence has also raised the suspicions of Scotland Yard Inspector, (Hugo Weaving) who is convinced that Lawrence may be a key player in the local horror, as he was confined to an asylum in his childhood following the death of his mother.
At first Lawrence is outraged at the accusations, but when he transforms into a deadly creature and embarks on a deadly killing spree during a full moon, he soon learns a dangerous secret that places not only his life in danger, but endangers all those around him.
In a desperate race against time, Lawrence attempts to get to the root of his troubles and set things right before the next full moon, when his animal side will take over once again.
The film is a stylish update of the original and the cast is strong. Sadly they are given little to do with the by the numbers plot, and spend much of the time looking like they are simply going through the motions which makes it difficult for the audience to develop a deep sympathy or attachment to the characters.
Oscar winner Rick Baker has done some amazing makeup work and the effects of the film are solid. It was reported that the film was delayed so Universal could punch the film up by adding some new fx and sequences.
The final result is a mixed bag as while the film is a nice update on the original, audiences have seen more so many variations of the story over the years it is hard to be surprised by anything in the picture. Despite the best efforts of the creative talent, there is little tension or drama in the film and by the time the finale plays out, many may think they have seen it all before.
Universal has released the 1941 original Lon Cheney version of the film on DVD and for those who like film history; they may gain a new insight into the film by watching the original version prior.
In the end, “The Wolfman” works as a matinee or a DVD rental, but I would not suggest it as a full priced theatrical experience for anyone other than those looking for a piece of nostalgia.
Over the years there have been countless updates to the tale which ranged from Michael Landon in “I Was a Teenage Werewolf, to the more contemporary “An American Werewolf in London” and “Dog Soldiers”.
With remakes being all the rage in Hollywood, Universal has returned to the original source material to offer an updated version of the original classic.
Set in England near the start of the twentieth century, the film stars Benicio Del Toro as an actor named Lawrence who is summoned home when his brother goes missing. Upon returning to the lavish familial estate, he is greeted by his estranged father, (Sir Anthony Hopkins), who informs him that his brother mutilated body was discovered earlier.
Dismayed by the condition of his brother’s remains, Lawrence decides to stay and get to the bottom of the mystery. When a clue provided by his brother’s fiancé leads him to a Gypsy encampment, Lawrence learns of a curse, but before he can obtain the information he desires, the camp is attacked by a mysterious creature that leaves a horrific path of carnage in its wake and leaves Lawrence badly wounded from a bite.
Lawrence makes an amazing recovery from his wounds and in doing so raises the suspicions of the locals who now see Lawrence as cursed and a threat to their society.
Lawrence has also raised the suspicions of Scotland Yard Inspector, (Hugo Weaving) who is convinced that Lawrence may be a key player in the local horror, as he was confined to an asylum in his childhood following the death of his mother.
At first Lawrence is outraged at the accusations, but when he transforms into a deadly creature and embarks on a deadly killing spree during a full moon, he soon learns a dangerous secret that places not only his life in danger, but endangers all those around him.
In a desperate race against time, Lawrence attempts to get to the root of his troubles and set things right before the next full moon, when his animal side will take over once again.
The film is a stylish update of the original and the cast is strong. Sadly they are given little to do with the by the numbers plot, and spend much of the time looking like they are simply going through the motions which makes it difficult for the audience to develop a deep sympathy or attachment to the characters.
Oscar winner Rick Baker has done some amazing makeup work and the effects of the film are solid. It was reported that the film was delayed so Universal could punch the film up by adding some new fx and sequences.
The final result is a mixed bag as while the film is a nice update on the original, audiences have seen more so many variations of the story over the years it is hard to be surprised by anything in the picture. Despite the best efforts of the creative talent, there is little tension or drama in the film and by the time the finale plays out, many may think they have seen it all before.
Universal has released the 1941 original Lon Cheney version of the film on DVD and for those who like film history; they may gain a new insight into the film by watching the original version prior.
In the end, “The Wolfman” works as a matinee or a DVD rental, but I would not suggest it as a full priced theatrical experience for anyone other than those looking for a piece of nostalgia.
Darren (1599 KP) rated Dumbo (2019) in Movies
Nov 30, 2019
Verdict: Charming
Story: Dumbo starts when Holt Farrier (Farrell) returns from war, to re-join the circus run by Max Medici (DeVito) where his kids Milly (Parker) and Joe (Hobbins) have been living and working for years, Holt has come back injured, with the only job offered to him, being cleaning up after the elephants, one of which is pregnant giving birth to an elephant with giant ears, which only causes chaos on his debut in the circus.
After Dumbo’s mother is taken away, he is left alone, while the children learn about his flying skills, which turns Max’s circus into the talk of the country, attracting V. A. Vandevere (Keaton) who wants to offer Max the world for Dumbo.
Thoughts on Dumbo
Characters – Holt Farrier is a war veteran widow that has returned to his children in a circus. He has been suffering with his time away, this has seen him not show as much affection as his wife would have, he takes the only job he can get which sees him training and cleaning up the elephants, his time back in the circus does bring him back to his kids, where he learns how important life still can be. V. A. Vandevere is the operator of Dreamland, he sales the idea of a better life for the whole troop, even if he has his own ideas to just make himself rich. Max Medici runs the small circus that discovers Dumbo’s talent, he has always been in the game for the money and can’t resist the idea of money when Vandevere arrives but must learn there is more to his life than money. Colette Marchant is the star performer in Vandevere show, she has been for years though she is just the hottest thing he has going for a while, she doe solve to perform. Dumbo is the baby elephant with giant eyes, who loses his mother, but has the incredible ability to fly, drawing crowds from miles.
Performances – Colin Farrell gives us a wonderful performance as the caring veteran who has been struggling with his own problems once returning from war. Michael Keaton enjoy the villainous role, while Danny DeVito is shows the desperation while still bringing the heart needing for the role, Eva Green shines to as the beautiful performer too.
Story – The story here shows how a small circus that finds themselves with a star attraction in Dumbo, which sees them become a success that the whole country wants to see. The story might focus on Dumbo being forced into performing after having his mother taken away, while deeper down we get to see a family that has been broken from death and war, needing to come back together. We see themes of greed with the circus masters at times, but all together the ideas behind everything all shine through to show that people who do good will get what they deserve in life.
Adventure/Fantasy – The adventure shows the how Dumbo comes into the world and put through traumas at a young age before finding his feet and learn that some people are good in life, with the fantasy of an elephant that can fly being the highlight of what makes Dumbo so special.
Settings – The film uses the settings to show the different sizes of circus that we see Dumbo being part of.
Special Effects – The effects in the film are brilliant bringing Dumbo to life like nothing we could have imagined.
Scene of the Movie – The Dumbo flight.
That Moment That Annoyed Me – It does spend too much time telling Milly she can’t follow her scientist dreams.
Final Thoughts – This is the best live action Disney film of 2019, it brings the scale of the idea to life, which looks wonderful and has great performances too.
Overall: Beautiful Fantasy Film.
Story: Dumbo starts when Holt Farrier (Farrell) returns from war, to re-join the circus run by Max Medici (DeVito) where his kids Milly (Parker) and Joe (Hobbins) have been living and working for years, Holt has come back injured, with the only job offered to him, being cleaning up after the elephants, one of which is pregnant giving birth to an elephant with giant ears, which only causes chaos on his debut in the circus.
After Dumbo’s mother is taken away, he is left alone, while the children learn about his flying skills, which turns Max’s circus into the talk of the country, attracting V. A. Vandevere (Keaton) who wants to offer Max the world for Dumbo.
Thoughts on Dumbo
Characters – Holt Farrier is a war veteran widow that has returned to his children in a circus. He has been suffering with his time away, this has seen him not show as much affection as his wife would have, he takes the only job he can get which sees him training and cleaning up the elephants, his time back in the circus does bring him back to his kids, where he learns how important life still can be. V. A. Vandevere is the operator of Dreamland, he sales the idea of a better life for the whole troop, even if he has his own ideas to just make himself rich. Max Medici runs the small circus that discovers Dumbo’s talent, he has always been in the game for the money and can’t resist the idea of money when Vandevere arrives but must learn there is more to his life than money. Colette Marchant is the star performer in Vandevere show, she has been for years though she is just the hottest thing he has going for a while, she doe solve to perform. Dumbo is the baby elephant with giant eyes, who loses his mother, but has the incredible ability to fly, drawing crowds from miles.
Performances – Colin Farrell gives us a wonderful performance as the caring veteran who has been struggling with his own problems once returning from war. Michael Keaton enjoy the villainous role, while Danny DeVito is shows the desperation while still bringing the heart needing for the role, Eva Green shines to as the beautiful performer too.
Story – The story here shows how a small circus that finds themselves with a star attraction in Dumbo, which sees them become a success that the whole country wants to see. The story might focus on Dumbo being forced into performing after having his mother taken away, while deeper down we get to see a family that has been broken from death and war, needing to come back together. We see themes of greed with the circus masters at times, but all together the ideas behind everything all shine through to show that people who do good will get what they deserve in life.
Adventure/Fantasy – The adventure shows the how Dumbo comes into the world and put through traumas at a young age before finding his feet and learn that some people are good in life, with the fantasy of an elephant that can fly being the highlight of what makes Dumbo so special.
Settings – The film uses the settings to show the different sizes of circus that we see Dumbo being part of.
Special Effects – The effects in the film are brilliant bringing Dumbo to life like nothing we could have imagined.
Scene of the Movie – The Dumbo flight.
That Moment That Annoyed Me – It does spend too much time telling Milly she can’t follow her scientist dreams.
Final Thoughts – This is the best live action Disney film of 2019, it brings the scale of the idea to life, which looks wonderful and has great performances too.
Overall: Beautiful Fantasy Film.
Kirk Bage (1775 KP) rated Game Night (2018) in Movies
Jan 22, 2021
Virtual game nights over Zoom have been a big part of many lockdown experiences, so, if you haven’t already, check out this fun, disposable comedy starring Jason Bateman and Rachel McAdams. The two ever reliable leads make this 100 minute romp something worth doing, pitched as it is to tickle you on a superficial level and then leave you alone. Not one minute of meaningful plot or artistic message exists here; this is frat house tomfoolery for the now middle aged mainstream and then a bow to the crowd.
Anyone who has hosted, or been a guest at a dedicated game night will instantly relate to recognisable moments of cringe, such as the person who takes it all far too seriously and must win at all costs; the one who is far too dim to be true, and neither understands the rules nor knows the answers; the couple whose relationship is about to be ruined by how much they disagree; the guys who care much more about the booze, chat and music to care about the game; and the psycho that you didn’t really want to invite but is there in the mix anyway, giving the weirdest answers of all time and bringing down the mood. It’s all there!
When events take a canny twist and a planned fake murder mystery turns into a very real one, there is tons of fun to be had watching the main pair misjudge the amount of danger they are in, believing it all to still be a game. Bateman phones in his usual laconic likeable deadpan schtick, hard to differentiate from his role in half a dozen other films where he plays the likeable everyman, but is never less than watchable – because that’s what he does. McAdams also delivers her ace card, with a guileless charm and sweetness that makes her permanently lovable. She also wins by a point or two on the best lines and laugh out loud moments. If I was keeping score, I’d say she wins this one.
As a couple, their chemistry works a treat and sustains the conceit well for most of the running time. It can feel at times like a bit of a one trick pony, however, and also pushes the boundaries of likability by having quite a mean heart in places, leaning on crass, puerile or macho humour when not entirely necessary – but I guess it knows its target audience and just goes full tilt at that goal.
For that reason, it wouldn’t be something I’d be showing the kids. This is adult humour, for adults – a concept that always makes me slightly uncomfortable, as it will inevitably involve gratuitous violence, nasty misogyny and token gross-outs: the mainstay of comedy films without actual jokes. Game Night just about gets away with it, however, by being smart enough and self-aware enough to know exactly where it sits, shrugging its shoulders and saying “this is what this is” take it or leave it. And I guess there will be as many people who don’t enjoy it as those who do.
Personally, I enjoy what Bateman and McAdams do best enough to play along and enjoy the ride. There is also a terrifically creepy, but note perfect turn from the increasingly reliable Jesse Plemmons, as the lonely neighbour, who steals all the funniest moments the film has to offer. See it for his performance and comic timing if for nothing else. It’s also nice to see Michael C. Hall of Dexter fame turn up for two minutes of mayhem – I don’t see enough of him these days.
In conclusion, neither a winner or a loser. Let’s call it a draw and reset the pieces.
Anyone who has hosted, or been a guest at a dedicated game night will instantly relate to recognisable moments of cringe, such as the person who takes it all far too seriously and must win at all costs; the one who is far too dim to be true, and neither understands the rules nor knows the answers; the couple whose relationship is about to be ruined by how much they disagree; the guys who care much more about the booze, chat and music to care about the game; and the psycho that you didn’t really want to invite but is there in the mix anyway, giving the weirdest answers of all time and bringing down the mood. It’s all there!
When events take a canny twist and a planned fake murder mystery turns into a very real one, there is tons of fun to be had watching the main pair misjudge the amount of danger they are in, believing it all to still be a game. Bateman phones in his usual laconic likeable deadpan schtick, hard to differentiate from his role in half a dozen other films where he plays the likeable everyman, but is never less than watchable – because that’s what he does. McAdams also delivers her ace card, with a guileless charm and sweetness that makes her permanently lovable. She also wins by a point or two on the best lines and laugh out loud moments. If I was keeping score, I’d say she wins this one.
As a couple, their chemistry works a treat and sustains the conceit well for most of the running time. It can feel at times like a bit of a one trick pony, however, and also pushes the boundaries of likability by having quite a mean heart in places, leaning on crass, puerile or macho humour when not entirely necessary – but I guess it knows its target audience and just goes full tilt at that goal.
For that reason, it wouldn’t be something I’d be showing the kids. This is adult humour, for adults – a concept that always makes me slightly uncomfortable, as it will inevitably involve gratuitous violence, nasty misogyny and token gross-outs: the mainstay of comedy films without actual jokes. Game Night just about gets away with it, however, by being smart enough and self-aware enough to know exactly where it sits, shrugging its shoulders and saying “this is what this is” take it or leave it. And I guess there will be as many people who don’t enjoy it as those who do.
Personally, I enjoy what Bateman and McAdams do best enough to play along and enjoy the ride. There is also a terrifically creepy, but note perfect turn from the increasingly reliable Jesse Plemmons, as the lonely neighbour, who steals all the funniest moments the film has to offer. See it for his performance and comic timing if for nothing else. It’s also nice to see Michael C. Hall of Dexter fame turn up for two minutes of mayhem – I don’t see enough of him these days.
In conclusion, neither a winner or a loser. Let’s call it a draw and reset the pieces.
Kirk Bage (1775 KP) rated Fruitvale Station (2013) in Movies
Aug 6, 2020
Here is another movie that was put up for consideration for my upcoming book 21st Century Cinema: 200 Essential Films. It didn’t quite make the final cut, but is part of the long list of honourable mentions – movies that are easy to like and recommend, but aren’t quite of the very highest quality in their respective genres.
Borderline superstar Michael B. Jordan owes his career to Ryan Coogler, which began in earnest in 2013 with the strong effort of true story Fruitvale Station, highlighting the life and final moments of Oscar Grant, who was one of a tragically long list of innocent young men murdered by the police in modern America. Since then he has gone on to star as the eponymous Creed and as the popular Erik Killmonger in Black Panther, making him more or less the most famous black actor under forty currently at work.
I mention him first because having seen the other two films first, I have to admit I wasn’t quite getting it. I mean he is fine in both movies, but nothing world beating. Then you go back to his acheivement in the earlier film and begin to see what he might be capable of given the right scripts. He pretty much embodies Oscar Grant to a degree you believe you are watching a documentary. Which is the major plus point of Ryan Coogler’s direction also.
By pulling us in to the family life of Oscar, as if we were a fly on the wall, we become connected to their story as if we were part of that inner circle, making the inevitable horror of events hit home all the harder. We watch mundane events and conversations take place with a shadow of foreboding that never crosses over into foreshadowing or signposting. The balance is very nicely done.
Melonie Diaz, as girlfriend Sophina, and especially the ever wonderful Octavia Spencer, as loving but grounded mother Wanda, offer solid support, but the camera clings to Jordan by choice, asking us to place ourselves in his shoes and feel the empathy first hand. It is a sober journey, almost totally devoid of directorial flair, which is both a strength and a weakness, ultimately.
With such an awful, heart-rending subject, it can be difficult to remove yourself into a dispassionate view of a film artistically, as the message overpowers your emotions. The best thing that can be said in this case is that the drama never crosses the line of sentimentality or overkill; it merely presents events as they were and asks you to draw your own conclusions. Having said that, I can’t over-praise it simply because the subject needs to be seen, heard, discussed and acted upon with total immediacy in the real world.
This film is already seven years old, and the issues are more pertinent than ever before, as the BLM movement rages all over the world, but especially in the USA, where the culpability and violence of police officers must be addressed and resolved before the loss of one more innocent life. The message delivered by the film is clear and unambiguous – it has to be heeded. And in that sense it is an indespensible film of great power, I would advise you to see.
And with that, it seems a moot point to criticise it, because there isn’t anything negative to say that would say anything useful. I would just say again that it doesn’t quite make the grade of the best 200 films since the Millennium. Whereas, BlacKkKlansman does. An unfair comparison in many ways, but an obvious one in others. See both. Think about them, do what you can, and help make hatred and prejudice a sad fact of history.
Decinemal Rating: 70
Borderline superstar Michael B. Jordan owes his career to Ryan Coogler, which began in earnest in 2013 with the strong effort of true story Fruitvale Station, highlighting the life and final moments of Oscar Grant, who was one of a tragically long list of innocent young men murdered by the police in modern America. Since then he has gone on to star as the eponymous Creed and as the popular Erik Killmonger in Black Panther, making him more or less the most famous black actor under forty currently at work.
I mention him first because having seen the other two films first, I have to admit I wasn’t quite getting it. I mean he is fine in both movies, but nothing world beating. Then you go back to his acheivement in the earlier film and begin to see what he might be capable of given the right scripts. He pretty much embodies Oscar Grant to a degree you believe you are watching a documentary. Which is the major plus point of Ryan Coogler’s direction also.
By pulling us in to the family life of Oscar, as if we were a fly on the wall, we become connected to their story as if we were part of that inner circle, making the inevitable horror of events hit home all the harder. We watch mundane events and conversations take place with a shadow of foreboding that never crosses over into foreshadowing or signposting. The balance is very nicely done.
Melonie Diaz, as girlfriend Sophina, and especially the ever wonderful Octavia Spencer, as loving but grounded mother Wanda, offer solid support, but the camera clings to Jordan by choice, asking us to place ourselves in his shoes and feel the empathy first hand. It is a sober journey, almost totally devoid of directorial flair, which is both a strength and a weakness, ultimately.
With such an awful, heart-rending subject, it can be difficult to remove yourself into a dispassionate view of a film artistically, as the message overpowers your emotions. The best thing that can be said in this case is that the drama never crosses the line of sentimentality or overkill; it merely presents events as they were and asks you to draw your own conclusions. Having said that, I can’t over-praise it simply because the subject needs to be seen, heard, discussed and acted upon with total immediacy in the real world.
This film is already seven years old, and the issues are more pertinent than ever before, as the BLM movement rages all over the world, but especially in the USA, where the culpability and violence of police officers must be addressed and resolved before the loss of one more innocent life. The message delivered by the film is clear and unambiguous – it has to be heeded. And in that sense it is an indespensible film of great power, I would advise you to see.
And with that, it seems a moot point to criticise it, because there isn’t anything negative to say that would say anything useful. I would just say again that it doesn’t quite make the grade of the best 200 films since the Millennium. Whereas, BlacKkKlansman does. An unfair comparison in many ways, but an obvious one in others. See both. Think about them, do what you can, and help make hatred and prejudice a sad fact of history.
Decinemal Rating: 70
Movie Metropolis (309 KP) rated Black Panther (2018) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
Is the MCU all out of surprises?
The Marvel Cinematic Universe has become one of the most successful movie franchises ever made, and it’s easy to see why. Featuring incredible actors, up-and-coming directors and that trademark sense of humour, each film in the MCU has something to offer.
That doesn’t mean they’re perfect however. The MCU has a distinct lack of decent villains, strong female characters and characters from ethnic minorities. In the run-up to this year’s Infinity War, Black Panther aims to turn what we know about Marvel on its head. But has it succeeded?
After the death of his father, T’Challa (Chadwick Boseman) returns home to the African nation of Wakanda to take his rightful place as king. When a powerful enemy suddenly reappears, T’Challa’s mettle as king – and as Black Panther – gets tested when he’s drawn into a conflict that puts the fate of Wakanda and the entire world at risk. Faced with treachery and danger, the young king must rally his allies and release the full power of Black Panther to defeat his foes and secure the safety of his people.
The opening sequence of Black Panther is an absolute treat as the audience are given a brief history of Wakanda and the tribes from which it grew. It’s a great montage to kick off a film that’s packed with stunning visuals and gorgeous landscapes, even though some of the special effects are left wanting at times.
Cast wise, this is one of the strongest entries into the MCU. Chadwick Boseman absolutely embodies the young, naïve yet warm T’Challa beautifully and it’s nice to see his character given some reference points after his sudden inclusion in Captain America: Civil War. Elsewhere, Lupita Nyong’o is always a pleasure to see on screen and her love interest to Boseman keeps him grounded over the course of the runtime.
For me the standout character is Danai Gurira’s Okoye, leader of a group of female warriors ordered to protect Wakanda and its king no matter what the cost. She’s certainly not to be messed with and gets a pleasing arc throughout. The script also seems to work best when she’s on screen.
When it comes to the bad guy, director Ryan Coogler (Creed) gets it nearly spot on. After dozens of, shall we say, lacklustre villains, the MCU receives its best yet. Michael B. Jordan’s Killmonger is, despite his ridiculous name, absolutely brilliant. Menacing and oddly charming in equal measure, he does away with the tradition of bizarre villain motives in the MCU. In fact, his motives throughout feel entirely believable and the film feels more grounded because of this.
Coogler does a good job at creating a bustling and vibrant world, even if the special effects can sometimes bring you out of the illusion
Martin Freeman’s Agent Ross is a strange addition to the cast, simply because his character isn’t essential to the plot. Freeman is always a magnetic presence but he really doesn’t have all that much to do. Finally, Andy Serkis reprises his role as arms dealer Ulysses Klaue and is great fun.
Looking at Wakanda itself, Coogler does a good job at creating a bustling and vibrant world, even if the special effects can sometimes bring you out of the illusion. It certainly feels more real than the hollow golden towers of Asgard (something thankfully fixed in last year’s Thor: Ragnarok), and Wakanda is a great addition to the many locations the Marvel Cinematic Universe has created.
So, I’ve mentioned disappointing special effects twice in this review and whilst they aren’t terrible, there are a few occasions where they are a little poor – especially evident in the film’s finale. For all his exciting filming style, Coogler’s shot choices occasionally jar with the uninspiring and lifeless CGI. Some of the landscapes also feel like a brochure for Disney’s upcoming The Lion King live-action remake.
I think it’s time to talk about film politics, because as much as Black Panther is a great addition to the MCU and a fine solo movie in itself, the legacy it will leave on the industry will be absolutely huge. With a majority black cast, strong female characters and a black director, it’s progressive and incredibly brave in its choices.
Any less of a story, director or cast wouldn’t have made it work and despite some poor CGI and slight pacing issues at the start, Black Panther is one of the best solo Marvel movies in years. Bring on Infinity War.
https://moviemetropolis.net/2018/02/15/black-panther-review-is-the-mcu-all-out-of-surprises/
That doesn’t mean they’re perfect however. The MCU has a distinct lack of decent villains, strong female characters and characters from ethnic minorities. In the run-up to this year’s Infinity War, Black Panther aims to turn what we know about Marvel on its head. But has it succeeded?
After the death of his father, T’Challa (Chadwick Boseman) returns home to the African nation of Wakanda to take his rightful place as king. When a powerful enemy suddenly reappears, T’Challa’s mettle as king – and as Black Panther – gets tested when he’s drawn into a conflict that puts the fate of Wakanda and the entire world at risk. Faced with treachery and danger, the young king must rally his allies and release the full power of Black Panther to defeat his foes and secure the safety of his people.
The opening sequence of Black Panther is an absolute treat as the audience are given a brief history of Wakanda and the tribes from which it grew. It’s a great montage to kick off a film that’s packed with stunning visuals and gorgeous landscapes, even though some of the special effects are left wanting at times.
Cast wise, this is one of the strongest entries into the MCU. Chadwick Boseman absolutely embodies the young, naïve yet warm T’Challa beautifully and it’s nice to see his character given some reference points after his sudden inclusion in Captain America: Civil War. Elsewhere, Lupita Nyong’o is always a pleasure to see on screen and her love interest to Boseman keeps him grounded over the course of the runtime.
For me the standout character is Danai Gurira’s Okoye, leader of a group of female warriors ordered to protect Wakanda and its king no matter what the cost. She’s certainly not to be messed with and gets a pleasing arc throughout. The script also seems to work best when she’s on screen.
When it comes to the bad guy, director Ryan Coogler (Creed) gets it nearly spot on. After dozens of, shall we say, lacklustre villains, the MCU receives its best yet. Michael B. Jordan’s Killmonger is, despite his ridiculous name, absolutely brilliant. Menacing and oddly charming in equal measure, he does away with the tradition of bizarre villain motives in the MCU. In fact, his motives throughout feel entirely believable and the film feels more grounded because of this.
Coogler does a good job at creating a bustling and vibrant world, even if the special effects can sometimes bring you out of the illusion
Martin Freeman’s Agent Ross is a strange addition to the cast, simply because his character isn’t essential to the plot. Freeman is always a magnetic presence but he really doesn’t have all that much to do. Finally, Andy Serkis reprises his role as arms dealer Ulysses Klaue and is great fun.
Looking at Wakanda itself, Coogler does a good job at creating a bustling and vibrant world, even if the special effects can sometimes bring you out of the illusion. It certainly feels more real than the hollow golden towers of Asgard (something thankfully fixed in last year’s Thor: Ragnarok), and Wakanda is a great addition to the many locations the Marvel Cinematic Universe has created.
So, I’ve mentioned disappointing special effects twice in this review and whilst they aren’t terrible, there are a few occasions where they are a little poor – especially evident in the film’s finale. For all his exciting filming style, Coogler’s shot choices occasionally jar with the uninspiring and lifeless CGI. Some of the landscapes also feel like a brochure for Disney’s upcoming The Lion King live-action remake.
I think it’s time to talk about film politics, because as much as Black Panther is a great addition to the MCU and a fine solo movie in itself, the legacy it will leave on the industry will be absolutely huge. With a majority black cast, strong female characters and a black director, it’s progressive and incredibly brave in its choices.
Any less of a story, director or cast wouldn’t have made it work and despite some poor CGI and slight pacing issues at the start, Black Panther is one of the best solo Marvel movies in years. Bring on Infinity War.
https://moviemetropolis.net/2018/02/15/black-panther-review-is-the-mcu-all-out-of-surprises/
Chris Sawin (602 KP) rated Messengers 2: The Scarecrow (2009) in Movies
Jun 22, 2019
John Rollins is a guy who's just trying to catch a break. He lives on a farm with his wife and two children, but his crops just won't grow. His cornfield is infested with crows and his water pump won't work. Stress and fatigue don't begin to describe what John is currently going through. He's a man of faith that's just trying to figure out how he can support his family with no income. He's pretty much lost all hope until he stumbles upon the scarecrow in his barn. After being convinced by his neighbor, he puts the scarecrow up in his cornfield. Besides, he has nothing to lose and everything to gain. John wakes up to a field full of dead crows and his water pump begins working again. Everything looks to finally be turning in John's favor, but there's two sides to every coin. People that get in the way of John's crops or his family begin to turn up dead. What makes matters worse is that John finds possessions of the victims in his cornfield and he is the only person all the evidence points to. Once he realizes that the scarecrow is the root of his newfound problems and that he could wind up losing his family, John knows he has to get rid of it but he may already be too late...
In my movie watching experience, I've learned that it's usually important to watch an original film before its sequel. With this day and age though where sequels are actually prequels and we get prequel trilogies sixteen years AFTER the original trilogy, there aren't really any guidelines to follow when it comes to watching films anymore. So being somebody who had no interest in seeing The Messengers, the sequel didn't really interest me until they announced Norman Reedus in the title role. Since Reedus had been impressive in films such as The Boondock Saints, Blade II, and even his brief (but rather incredible) cameo in Antibodies, I felt it was my obligation to at least give this film a chance. The results are pretty much what you'd expect for a direct to DVD horror film.
The acting isn't terrible, but doesn't really do much to stand out. Norman Reedus, Heather Stephens, and Richard Riehle are pretty much the cream of the crop as far as acting goes. Reedus does a good job of acting like a farmer who's going through troubled times and just wants to support his family. He was easy to relate to since just about everyone is either going through tough times or has so in the past. Stephens played the concerned wife and was able to portray the widest range of emotions in the film. Riehle always seemed to show up to encourage John Rollins to do mischievous things, so the seeds are planted from the get-go that something isn't quite right with him. The boy who played John's son, Michael, is the only actor in the film that could really be considered atrocious as his lines are delivered so nonchalantly.
The way the rest of the film plays out just feels like it borrowed heavily from Jeepers Creepers 2 and the Children of the Corn films. The scarecrow drags its scythe on the ground as it's stalking its victims, which was a nice touch but was really the only enjoyable part of the scarecrow. Once it reveals itself at the end of the film and starts walking around, it makes pterodactyl sounds and trust me, that's just as incredible as it sounds. The film actually starts going downhill in the second half, which is when the cheesy effects come in and unanswered questions begin. The latter half of the film is filled with a lot of moments that will leave you scratching your head wondering why you even decided to watch this film to begin with.
Messengers 2: The Scarecrow isn't exactly the greatest film to watch, but it isn't the worst either. While it does have its fair share of blood and isn't half bad at times, it doesn't really offer anything most horror fans haven't seen before. Messengers 2 is really only recommended for die hard fans of Norman Reedus since it's basically just a rehash of Jeepers Creepers 2 with a lower budget. It's the type of film that's a decent watch at 3 o' clock in the morning when you stumble across it channel surfing, but isn't worth deliberately tracking down on DVD.
In my movie watching experience, I've learned that it's usually important to watch an original film before its sequel. With this day and age though where sequels are actually prequels and we get prequel trilogies sixteen years AFTER the original trilogy, there aren't really any guidelines to follow when it comes to watching films anymore. So being somebody who had no interest in seeing The Messengers, the sequel didn't really interest me until they announced Norman Reedus in the title role. Since Reedus had been impressive in films such as The Boondock Saints, Blade II, and even his brief (but rather incredible) cameo in Antibodies, I felt it was my obligation to at least give this film a chance. The results are pretty much what you'd expect for a direct to DVD horror film.
The acting isn't terrible, but doesn't really do much to stand out. Norman Reedus, Heather Stephens, and Richard Riehle are pretty much the cream of the crop as far as acting goes. Reedus does a good job of acting like a farmer who's going through troubled times and just wants to support his family. He was easy to relate to since just about everyone is either going through tough times or has so in the past. Stephens played the concerned wife and was able to portray the widest range of emotions in the film. Riehle always seemed to show up to encourage John Rollins to do mischievous things, so the seeds are planted from the get-go that something isn't quite right with him. The boy who played John's son, Michael, is the only actor in the film that could really be considered atrocious as his lines are delivered so nonchalantly.
The way the rest of the film plays out just feels like it borrowed heavily from Jeepers Creepers 2 and the Children of the Corn films. The scarecrow drags its scythe on the ground as it's stalking its victims, which was a nice touch but was really the only enjoyable part of the scarecrow. Once it reveals itself at the end of the film and starts walking around, it makes pterodactyl sounds and trust me, that's just as incredible as it sounds. The film actually starts going downhill in the second half, which is when the cheesy effects come in and unanswered questions begin. The latter half of the film is filled with a lot of moments that will leave you scratching your head wondering why you even decided to watch this film to begin with.
Messengers 2: The Scarecrow isn't exactly the greatest film to watch, but it isn't the worst either. While it does have its fair share of blood and isn't half bad at times, it doesn't really offer anything most horror fans haven't seen before. Messengers 2 is really only recommended for die hard fans of Norman Reedus since it's basically just a rehash of Jeepers Creepers 2 with a lower budget. It's the type of film that's a decent watch at 3 o' clock in the morning when you stumble across it channel surfing, but isn't worth deliberately tracking down on DVD.