Search
Search results
Gareth von Kallenbach (971 KP) rated Ant-Man and the Wasp (2018) in Movies
Jun 19, 2019
Following the unexpected and shocking moments from “Avengers: Infinity War”, fans eagerly awaited the next Marvel Studios film for any type of clues as to what will happen next when the next Avengers film arrives next summer. “Ant-Man and the Wasp”, is set before the events of “Avengers: Infinity War”, and finds Scott Lang (Paul Rudd) under home confinement thanks to a plea deal he took for siding with Captain America in “Captain America: Civil War”.
The years of being at home have driven Scott to find creative ways to entertain himself when his friend Luis (Michael Pena) and his daughter Cassie are not around. Scott is nearing the end of his isolation but knows F.B.I. Agent Woo (Randall Park), is waiting for him to slip up and with a possible twenty year prison term in the balance, he is not eager to make any mistakes.
Scott is also on the outs with Hope (Evangeline Lilly) and her father Hank (Michael Douglas) as it is revealed he took the Ant-Man suit and took part in the Civil War without their permission.
Fate intervenes when a strange dream causes Scott to contact Hope who in turn takes a reluctant Scott along with her to get to the bottom of the dream. Scott is naturally reluctant as he is days away from freedom and being discovered out and about and consorting with his wanted former associates would not be good for his eventual freedom.
A shady tech dealer named Sonny Burch (Walton Goggins) and a dangerous new adversary named “Ghost” (Hannah John-Kamen) also complicate matters and force Scott, Hope, and Hank to contend with issues all around them as the race against time on an urgent mission while trying to stay away from Woo and his team.
The film is a bit slow getting started but it does have some great character moments as well as humor around the build-up to the action sequences. The action when it comes mixes some great visual FX with some humor as Hope and Scott jump between everyday items at various sizes to face the threats presented to them. The cast works very well with one another and there are some great moments that will likely become favorites for fans of the characters and Marvel.
The Ghost is a rather interesting choice as an adversary as we do not have an individual bent on conquest, revenge, mass destruction, or accumulating power and wealth. While it may seem odd to have a more down to earth and relatable villain in a Marvel film, it does continue a recent trend of showing of adversaries who are complex, harder to define, and sympathetic much like The Winter Soldier.
There are two scenes in the credits which are very important to the continuity of the Marvel Universe and with “Captain Marvel” due in March 2019, it will likely get fans whipped into overdrive thinking about the possibilities they present.
“Ant-Man and the Wasp” is not as epic in scale as some of the past Marvel films, but thanks to a likeable cast and some timely humor, it should keep fans happy until the next chapter in the series.
http://sknr.net/2018/06/27/ant-man-and-the-wasp/
The years of being at home have driven Scott to find creative ways to entertain himself when his friend Luis (Michael Pena) and his daughter Cassie are not around. Scott is nearing the end of his isolation but knows F.B.I. Agent Woo (Randall Park), is waiting for him to slip up and with a possible twenty year prison term in the balance, he is not eager to make any mistakes.
Scott is also on the outs with Hope (Evangeline Lilly) and her father Hank (Michael Douglas) as it is revealed he took the Ant-Man suit and took part in the Civil War without their permission.
Fate intervenes when a strange dream causes Scott to contact Hope who in turn takes a reluctant Scott along with her to get to the bottom of the dream. Scott is naturally reluctant as he is days away from freedom and being discovered out and about and consorting with his wanted former associates would not be good for his eventual freedom.
A shady tech dealer named Sonny Burch (Walton Goggins) and a dangerous new adversary named “Ghost” (Hannah John-Kamen) also complicate matters and force Scott, Hope, and Hank to contend with issues all around them as the race against time on an urgent mission while trying to stay away from Woo and his team.
The film is a bit slow getting started but it does have some great character moments as well as humor around the build-up to the action sequences. The action when it comes mixes some great visual FX with some humor as Hope and Scott jump between everyday items at various sizes to face the threats presented to them. The cast works very well with one another and there are some great moments that will likely become favorites for fans of the characters and Marvel.
The Ghost is a rather interesting choice as an adversary as we do not have an individual bent on conquest, revenge, mass destruction, or accumulating power and wealth. While it may seem odd to have a more down to earth and relatable villain in a Marvel film, it does continue a recent trend of showing of adversaries who are complex, harder to define, and sympathetic much like The Winter Soldier.
There are two scenes in the credits which are very important to the continuity of the Marvel Universe and with “Captain Marvel” due in March 2019, it will likely get fans whipped into overdrive thinking about the possibilities they present.
“Ant-Man and the Wasp” is not as epic in scale as some of the past Marvel films, but thanks to a likeable cast and some timely humor, it should keep fans happy until the next chapter in the series.
http://sknr.net/2018/06/27/ant-man-and-the-wasp/
Gareth von Kallenbach (971 KP) rated Underworld: Evolution (2006) in Movies
Aug 14, 2019
The battle between the Death Dealers (Vampires) and Lychans (Werewolves) continues in Underworld Evolution, the sequel to the smash “Underworld” that detailed the battles between the two horror mainstays. The sequel picks up shortly after the film and deals with Selene (Kate Beckinsale), and Michael (Scott Speedman), on the run after Selene was forced to turn on the Vampires following events at the conclusion of the previous film.
Of course being a Vampire traveling with a Vampire/Werewolves hybrid is not an easy thing, especially when Selene can only move around at night and must seek refuge from daylight. Through a series of flashbacks, we learn that the war between Lychans and Death Dealers began centuries ago, when two brothers each heading one faction of the conflict were drawn to a decisive battle. The losing Lychan brother, William, is imprisoned for all ages in a specially designed tomb, thanks to his brother Marcus’s insistence that he would only help capture him, if he were to remain alive.
Since William is capable of utter destruction, his location is a closely guarded secret for centuries that is until Marcus re-emerges and seeks to locate Selene. Marcus upon emerging from hibernation learns what Selene has done, and is convinced she has betrayed her own kind, unaware of the real reasons behind her actions. In short order, Marcus, Selene, and Michael play a deadly game of cat and mouse with each trying to unlock the mystery of Williams’s location. Marcus wants to exploit the power of William while Selene to protect the world from the evil that William and his followers would represent.
Along the way, there are plenty of battles, odd characters, and romance to keep most viewers entertained, which leads up to an action packed finale, that for me was the high point of the film. The plot has its share of holes but also deals with a series of complexities as it attempts to take the topics of bloodlines, centuries of history, and mythos in a tight 100 minute package. The two leads work well with one another though their do not have the most dynamic chemistry ever seen on screen. For this type of film, it does work as one does not come to a monster film expecting great acting, story, or characterization.
What Underworld Evolution has going for it, are good effects, a few good action moments and a plot, that at times tricky for the casual viewer to follow, more than surpasses the average storyline for the genre. The tight pacing of the film by Director Len Wiseman keeps the film moving a clip that was much brisker than the original and allowed the film to get to the highlights quickly and not be weighed down by fluff.
The finale as I mentioned was the highlight for me, as the buildup to that point was at times, slow, and had me wishing for more. That being said, the final 15 minutes of the film more than saved it, and got more than a few cheers from the audience at my press screening.
While it would be easy to find faults with the film, the important thing to remember is the spirit and intention of the film. They were not out to make classic cinema, they were out to make a fun and entertaining monster film, blemishes and all. In that, Underworld Evolution succeeds.
Of course being a Vampire traveling with a Vampire/Werewolves hybrid is not an easy thing, especially when Selene can only move around at night and must seek refuge from daylight. Through a series of flashbacks, we learn that the war between Lychans and Death Dealers began centuries ago, when two brothers each heading one faction of the conflict were drawn to a decisive battle. The losing Lychan brother, William, is imprisoned for all ages in a specially designed tomb, thanks to his brother Marcus’s insistence that he would only help capture him, if he were to remain alive.
Since William is capable of utter destruction, his location is a closely guarded secret for centuries that is until Marcus re-emerges and seeks to locate Selene. Marcus upon emerging from hibernation learns what Selene has done, and is convinced she has betrayed her own kind, unaware of the real reasons behind her actions. In short order, Marcus, Selene, and Michael play a deadly game of cat and mouse with each trying to unlock the mystery of Williams’s location. Marcus wants to exploit the power of William while Selene to protect the world from the evil that William and his followers would represent.
Along the way, there are plenty of battles, odd characters, and romance to keep most viewers entertained, which leads up to an action packed finale, that for me was the high point of the film. The plot has its share of holes but also deals with a series of complexities as it attempts to take the topics of bloodlines, centuries of history, and mythos in a tight 100 minute package. The two leads work well with one another though their do not have the most dynamic chemistry ever seen on screen. For this type of film, it does work as one does not come to a monster film expecting great acting, story, or characterization.
What Underworld Evolution has going for it, are good effects, a few good action moments and a plot, that at times tricky for the casual viewer to follow, more than surpasses the average storyline for the genre. The tight pacing of the film by Director Len Wiseman keeps the film moving a clip that was much brisker than the original and allowed the film to get to the highlights quickly and not be weighed down by fluff.
The finale as I mentioned was the highlight for me, as the buildup to that point was at times, slow, and had me wishing for more. That being said, the final 15 minutes of the film more than saved it, and got more than a few cheers from the audience at my press screening.
While it would be easy to find faults with the film, the important thing to remember is the spirit and intention of the film. They were not out to make classic cinema, they were out to make a fun and entertaining monster film, blemishes and all. In that, Underworld Evolution succeeds.
Phillip McSween (751 KP) rated Black Panther (2018) in Movies
Mar 5, 2018
Epic
There is so much to love about Black Panther that it's taken me awhile to figure out where to begin. I guess I'll start with the message. A message that leaves us with two options: We can all spend the rest of our lives hating each other or we can choose to work together. That's not just a message for black people, which the cast predominately represents, but a message for the human race.
The film would be nothing without the powerful cast surrounding it. Their performances were both memorable and deep. I could spend this entire review going into depth on the effect of each actor/actresses performance on the film, but instead I want to take a moment to recognize one particular actress who has been in the game for decades: Angela Bassett. She absolutely nails the role of Queen mother Ramonda. Because the other roles are so strong, her performance may go unnoticed but not by me. She's a picture of calm, always displaying the perfect amount of strength in her position of power. Her vulnerability doesn't diminish her role of power in this matriarchal society.
Critics and fans alike have been complaining about one-dimensional villains for years in the Marvel Cinematic Universe. You won't find that in Black Panther as Killmonger (Michael B. Jordan) is extremely well-developed. The best villains make you sensitive to their plight. Not only did I understand where Killmonger was coming from, there were plenty of moments where I wondered whether or not he was wrong.
As much as the film creates a strong feeling of black empowerment, Black Panther creates a strong sense of women's empowerment as well. The Wakandan tribes revolve around a king, yet the society would be nothing without the strong matriarchal figures that keep things running smoothly. There is a scene in the beginning of the film where N'Jobu (Sterling K. Brown) is discussing underdealings in his apartment when there is a knock at his door. When asked if he should open the door, he responds, "They won't ask twice." You can read the fear in his eyes as he understands the power of the women waiting behind that door. The more of the film you watch, the more you understand the justification behind that fear.
The conflict in the film wasn't created, but happened naturally as a result of flawed characters with depth and strong minds. W'Kabi (Daniel Kaluuya) loves his people but has a heart for vengeance which begins to consume him. His story is just one of many revolving pieces that provide layers to the story.
The set pieces throughout the film were absolutely stunning. From its beautiful waterfall overlooks to the wintery mountains of the Jabari Tribe, you can't help but feel the magic in this place. The casino set piece was easily my favorite, a location that's seedy on the outside yet full of glamour and ritz within.
Now for my one minor gripe: I can't go into detail without ruining the film for those that haven't seen it, but there was one particular relationship that I felt should have been fleshed out a bit more, especially since it impacted the tide of the movie as a whole. The original cut of this film is four hours long and I've read that my issue is a non-issue in that version so I won't deduct too much. Not to mention, there are so many moments that they got right, particularly in the action front, that it's hard being too picky. Even the fight scenes and sprawling battles (rhinos in vibranium armor? Yes, please!) are original, breathing fresh life into the MCU the same way Doctor Strange did.
At the heart of everything, Black Panther is shaped by memorable, powerful moments that impact the way you look at the movie. Killmonger's dream sequence is probably the most powerful scene in an MCU movie yet, just edging out the final confrontation between Vision and Ultron in Avengers: Age of Ultron. The film is a double threat as it not only packs a strong action punch, but an introspective one as well.
Wakanda is crowning a new king, but there is one who would oppose the throne for reasons of his own. One, coincidentally, is the same amount of points that I deducted from my rating. Just amazing, Black Panther gets a 99 from me.
The film would be nothing without the powerful cast surrounding it. Their performances were both memorable and deep. I could spend this entire review going into depth on the effect of each actor/actresses performance on the film, but instead I want to take a moment to recognize one particular actress who has been in the game for decades: Angela Bassett. She absolutely nails the role of Queen mother Ramonda. Because the other roles are so strong, her performance may go unnoticed but not by me. She's a picture of calm, always displaying the perfect amount of strength in her position of power. Her vulnerability doesn't diminish her role of power in this matriarchal society.
Critics and fans alike have been complaining about one-dimensional villains for years in the Marvel Cinematic Universe. You won't find that in Black Panther as Killmonger (Michael B. Jordan) is extremely well-developed. The best villains make you sensitive to their plight. Not only did I understand where Killmonger was coming from, there were plenty of moments where I wondered whether or not he was wrong.
As much as the film creates a strong feeling of black empowerment, Black Panther creates a strong sense of women's empowerment as well. The Wakandan tribes revolve around a king, yet the society would be nothing without the strong matriarchal figures that keep things running smoothly. There is a scene in the beginning of the film where N'Jobu (Sterling K. Brown) is discussing underdealings in his apartment when there is a knock at his door. When asked if he should open the door, he responds, "They won't ask twice." You can read the fear in his eyes as he understands the power of the women waiting behind that door. The more of the film you watch, the more you understand the justification behind that fear.
The conflict in the film wasn't created, but happened naturally as a result of flawed characters with depth and strong minds. W'Kabi (Daniel Kaluuya) loves his people but has a heart for vengeance which begins to consume him. His story is just one of many revolving pieces that provide layers to the story.
The set pieces throughout the film were absolutely stunning. From its beautiful waterfall overlooks to the wintery mountains of the Jabari Tribe, you can't help but feel the magic in this place. The casino set piece was easily my favorite, a location that's seedy on the outside yet full of glamour and ritz within.
Now for my one minor gripe: I can't go into detail without ruining the film for those that haven't seen it, but there was one particular relationship that I felt should have been fleshed out a bit more, especially since it impacted the tide of the movie as a whole. The original cut of this film is four hours long and I've read that my issue is a non-issue in that version so I won't deduct too much. Not to mention, there are so many moments that they got right, particularly in the action front, that it's hard being too picky. Even the fight scenes and sprawling battles (rhinos in vibranium armor? Yes, please!) are original, breathing fresh life into the MCU the same way Doctor Strange did.
At the heart of everything, Black Panther is shaped by memorable, powerful moments that impact the way you look at the movie. Killmonger's dream sequence is probably the most powerful scene in an MCU movie yet, just edging out the final confrontation between Vision and Ultron in Avengers: Age of Ultron. The film is a double threat as it not only packs a strong action punch, but an introspective one as well.
Wakanda is crowning a new king, but there is one who would oppose the throne for reasons of his own. One, coincidentally, is the same amount of points that I deducted from my rating. Just amazing, Black Panther gets a 99 from me.
Gareth von Kallenbach (971 KP) rated Deep Blue Sea 2 (2018) in Movies
Jun 19, 2019
Back in 1999 I fondly remember covering “Deep Blue Sea”. The press screening was a pleasant surprise as the film presented a fresh take on the shark on the loose genre and gave what was one of the more enjoyable films in the genre since “Jaws 2”.
I had always wondered why the film had never generated a sequel and talk of a direct to DVD follow up a few years later never materialized.
Now in 2018, we finally get the long-awaited follow up as “Deep Blue Seas 2” has arrived as a direct to DVD from Warner Bros Home Entertainment.
I eagerly awaited the arrival of my review copy as not only do I enjoy Shark movies, but my son is very big on the study of sharks and his insights always add a new dimension to me as he can tell me things like the difference between the species being portrayed, number of offspring they have, and their behavior.
The story centers on Dr. Misty Calhoun (Danielle Savre), who is tasked to give her professional opinions to a facility headed by billionaire Carl Durant (Michael Beach). At an underwater lab in South Africa, Dr. Calhoun arrives with a team and learns that the group is experimenting on Bull Sharks with a method that will increase brain abilities in humans.
Naturally things do not go as planned and before long, there are several very angry and genetically enhanced sharks on the loose with the humans desperately trying to find a way to escape and survive.
The story and characters are not overly complex but the goal is clearly to get the cast into the path of the CGI sharks as soon as possible and letting the carnage begin.
I had expected visuals on par with the SYFY films due to the direct to video nature of the film but what we were given was much better than expected.
The CGI effects are quite good and the cinema photography of the film is quite good as there are many really impressive shots in the film of the aquatic setting.
The film is hampered by the thin plot and characters and a lack of star power but it is worth a watch and is certainly better quality than many of the other creature on the loose films out there.
http://sknr.net/2018/05/07/deep-blue-sea-2/
I had always wondered why the film had never generated a sequel and talk of a direct to DVD follow up a few years later never materialized.
Now in 2018, we finally get the long-awaited follow up as “Deep Blue Seas 2” has arrived as a direct to DVD from Warner Bros Home Entertainment.
I eagerly awaited the arrival of my review copy as not only do I enjoy Shark movies, but my son is very big on the study of sharks and his insights always add a new dimension to me as he can tell me things like the difference between the species being portrayed, number of offspring they have, and their behavior.
The story centers on Dr. Misty Calhoun (Danielle Savre), who is tasked to give her professional opinions to a facility headed by billionaire Carl Durant (Michael Beach). At an underwater lab in South Africa, Dr. Calhoun arrives with a team and learns that the group is experimenting on Bull Sharks with a method that will increase brain abilities in humans.
Naturally things do not go as planned and before long, there are several very angry and genetically enhanced sharks on the loose with the humans desperately trying to find a way to escape and survive.
The story and characters are not overly complex but the goal is clearly to get the cast into the path of the CGI sharks as soon as possible and letting the carnage begin.
I had expected visuals on par with the SYFY films due to the direct to video nature of the film but what we were given was much better than expected.
The CGI effects are quite good and the cinema photography of the film is quite good as there are many really impressive shots in the film of the aquatic setting.
The film is hampered by the thin plot and characters and a lack of star power but it is worth a watch and is certainly better quality than many of the other creature on the loose films out there.
http://sknr.net/2018/05/07/deep-blue-sea-2/
Phil Leader (619 KP) rated The Taking (Afterlife #2) in Books
Nov 26, 2019
After her actions at the end of the first book in the series - Fledgling - the human-turned-angel Aurora has drawn the unwelcome attention of Separus, one of the most powerful of the demons. He covets her power and is determined to capture her and turn her to the side of darkness.
Aware of this Archangel Michael, leader of the angels, assigns her and her friends to be further trained by Zacharias, a rather bad tempered 'earthbound' angel who is an expert in fighting and weapons. As their - at times brutal - training takes place the demons are plotting to capture the three angel friends by using the ultimate bait for Aurora - Ethan. Aurora will need to make a choice, and not an easy one.
The Taking continues more-or-less where Fledgling left off although there is a distinct change of tone. Whereas in the first book Aurora, Cindy and Ben are out and about in the world saving innocents, here they are in training for very much of the time. In other hands this might be a disappointment, but Cope has an eye for telling the interesting bits of stories and not labouring the mundane. It also helps that the training is somewhat unusual, as is the teacher. As the major new character Zacharias is very well drawn, suitably grumpy and terse at being given 'humans' to train, as he sees it.
When conflict with the demons arises Cope again shows the flair for describing fight scenes from the first book and these, as would be expected, are far more intense battles with much more at stake. These are not serene angels gently guiding their human charges through life. These are kick-ass super heroes who are not afraid to put themselves in the way of extreme danger for what they believe is right.
Aurora must also confront her feelings for both Ethan, her human love, and Ben her angel friend. Both relationships are forbidden and this just complicates things further. I suspect that this aspect of the books would appeal more to female young adult readers but they are well written even if you will probably be shouting at the book telling Aurora not to be so silly at points.
Overall a second strong showing in this series and very recommended. If the angel/demon theme doesn't sound like your cup of tea then just give it a go. You will be pleasantly surprised
Aware of this Archangel Michael, leader of the angels, assigns her and her friends to be further trained by Zacharias, a rather bad tempered 'earthbound' angel who is an expert in fighting and weapons. As their - at times brutal - training takes place the demons are plotting to capture the three angel friends by using the ultimate bait for Aurora - Ethan. Aurora will need to make a choice, and not an easy one.
The Taking continues more-or-less where Fledgling left off although there is a distinct change of tone. Whereas in the first book Aurora, Cindy and Ben are out and about in the world saving innocents, here they are in training for very much of the time. In other hands this might be a disappointment, but Cope has an eye for telling the interesting bits of stories and not labouring the mundane. It also helps that the training is somewhat unusual, as is the teacher. As the major new character Zacharias is very well drawn, suitably grumpy and terse at being given 'humans' to train, as he sees it.
When conflict with the demons arises Cope again shows the flair for describing fight scenes from the first book and these, as would be expected, are far more intense battles with much more at stake. These are not serene angels gently guiding their human charges through life. These are kick-ass super heroes who are not afraid to put themselves in the way of extreme danger for what they believe is right.
Aurora must also confront her feelings for both Ethan, her human love, and Ben her angel friend. Both relationships are forbidden and this just complicates things further. I suspect that this aspect of the books would appeal more to female young adult readers but they are well written even if you will probably be shouting at the book telling Aurora not to be so silly at points.
Overall a second strong showing in this series and very recommended. If the angel/demon theme doesn't sound like your cup of tea then just give it a go. You will be pleasantly surprised
BankofMarquis (1832 KP) rated The Eyes of Tammy Faye (2021) in Movies
Feb 13, 2022
Good Performances, Thin Script
Jessica Chastain is, in my opinion - and with all apologies to Glenn Close - the best actress working today that has yet to win an Academy Award. Having been nominated twice previously (Supporting Actress for THE HELP in 2012 and Actress for ZERO DARKY THIRTY in 2013 - a performance I thought she was a shoo-in Oscar winner for, she would lose to Jennifer Lawrence for SILVER LININGS PLAYBOOK), Chastain has earned her 3rd Oscar nomination for portraying Tammy Faye Bakker in THE EYES OF TAMMY FAYE. It would be absurdly bizarre if THIS was the role she would win for.
Telling the story of Tammy Faye Bakker, the heavily made-up spouse/partner to disgraced Televangelist Jim Bakker, THE EYES OF TAMMY FAYE has, at it’s core, some TERRIFIC performances by Chastain, Andrew Garfield (Jim Bakker), Cherry Jones (Tammy Faye’s mother) and Vincent D’Onofrio (Jerry Falwell), it’s a shame that these performances couldn’t be performed with a better written and directed film.
Directed by Michael Showalter and Written by Fenton Bailey, Randy Barbato and Abe Sylvie (which might explain part of the issue), THE EYES OF TAMMY FAYE just doesn’t go deep enough into the characters portrayed, but - instead - opts for the superficial, opting to paint each character in one dimension. There is the “not attached to the real world/idealistic” Tammy Faye. The “he seems nice on the surface, but there is something else going on underneath” Jim Bakker. The “evil/power hungry” Jerry Falwell and the “never approving” Mother.
All of these, on the surface, are the makings of a good film, unfortunately Showalter and the 3 writers never mine the depths of these characters showing other sides and/or connecting the characters to each other.
Which is a shame for the performances of all the main characters are terrific and would have been much more so had they had better material to work with. Chastain, rightfully, has been Oscar nominated for her turn. She won’t win, but she is deserving of the nomination and would have been a quite serious contender had she had better material.
Which, ultimately, makes this film fall flat. The ingredients were there, they just weren’t put together well enough to make a satisfying experience.
Letter Grade: B- (for the performances)
6 stars (out of 10) and you can take that to the Bank (ofMarquis)
Telling the story of Tammy Faye Bakker, the heavily made-up spouse/partner to disgraced Televangelist Jim Bakker, THE EYES OF TAMMY FAYE has, at it’s core, some TERRIFIC performances by Chastain, Andrew Garfield (Jim Bakker), Cherry Jones (Tammy Faye’s mother) and Vincent D’Onofrio (Jerry Falwell), it’s a shame that these performances couldn’t be performed with a better written and directed film.
Directed by Michael Showalter and Written by Fenton Bailey, Randy Barbato and Abe Sylvie (which might explain part of the issue), THE EYES OF TAMMY FAYE just doesn’t go deep enough into the characters portrayed, but - instead - opts for the superficial, opting to paint each character in one dimension. There is the “not attached to the real world/idealistic” Tammy Faye. The “he seems nice on the surface, but there is something else going on underneath” Jim Bakker. The “evil/power hungry” Jerry Falwell and the “never approving” Mother.
All of these, on the surface, are the makings of a good film, unfortunately Showalter and the 3 writers never mine the depths of these characters showing other sides and/or connecting the characters to each other.
Which is a shame for the performances of all the main characters are terrific and would have been much more so had they had better material to work with. Chastain, rightfully, has been Oscar nominated for her turn. She won’t win, but she is deserving of the nomination and would have been a quite serious contender had she had better material.
Which, ultimately, makes this film fall flat. The ingredients were there, they just weren’t put together well enough to make a satisfying experience.
Letter Grade: B- (for the performances)
6 stars (out of 10) and you can take that to the Bank (ofMarquis)
Ivana A. | Diary of Difference (1171 KP) rated Wonder Woman: Her Greatest Battles in Books
Aug 21, 2018
<a href="https://diaryofdifference.com/">Blog</a>; | <a href="https://www.facebook.com/diaryofdifference/">Facebook</a>; | <a href="https://twitter.com/DiaryDifference">Twitter</a>; | <a href="https://www.instagram.com/diaryofdifference/">Instagram</a>; | <a href="https://www.pinterest.co.uk/diaryofdifference/pins/">Pinterest</a>;
<img src="https://gipostcards.files.wordpress.com/2018/08/book-review-1.png"/>;
This is my first graphic novel, and I did enjoy the art in it! This book contains the greatest battles of Wonder Woman. It is a compilation of seven comic book scenes, all sharing a different battle of Wonder Woman, and a different kind of art.. But even though I enjoyed the art, as a first one, this didn’t make me happy.
The stories are put in this compilation chronologically by when they were made, starting from a scene that was made in 1987, until the last one, which was made in 2013. I will give a brief comment on all of them - in order:
<b>‘’Power Play’’ from Wonder Woman #6 (1987)
<i>Plot & Pencils: George Perez, Script: Len Wein, Inks: Bruce Patterson, Colors: Tatjana Wood, Letters: John Costanza, Cover: George Perez</i></b>
The first story is a scene where Diana is fighting the god of war - Ares. As a first one, it is not the best descriptive piece of information - so for a person that haven’t heard about Wonder Woman before, this one won’t be of any use. I also didn’t quite enjoy the art in this one.
<b><i>‘’And for the first time in his immortal existence, the war-god weeps… for, without those alive to worship him, Ares’ power swiftly wanes…’’</i></b>
<b>‘’In The Forest Of The Night’’ from Wonder Woman #119 (1997)
<i>Story & Art: John Byrne; Colors: Patricia Mulvihill; Cover: Jose Luis Garcia-Lopez</i></b>
In this scene, Diana is on a mission to save officer Michael P. Schorr of the G.C.P.D. from the cheetah that used to be Barbara Minerva. Diana manages to convince Barbara to win the battle with herself and become human again. Even though I didn’t quite enjoy the art - I did enjoy the story itself. It was a great lesson of fighting for who you are within, and winning battles with yourself and not surrendering to anything that might be in your way. We also get to have a little sneak-peak of how Wonder Woman started existing in the first place.
<b><i>‘’Yes, Mike, it is not widely known, but I was not born as mortals are, my mother sculpted a baby from the clay of Themyscira and the Gods themselves breathed life into that clay. ‘’</i></b>
<img src="https://gipostcards.files.wordpress.com/2018/08/book-cover-4.png"/>;
<b>‘’Stoned: Conclusion’’ from Wonder Woman #210 (2005)
<i>Script: Greg Rucka; Pencils: Drew Johnson; Inks: Ray Snyder; Colors: Richard & Tanya Horie; Letters: Todd Klein; Cover: J.G. Jones</i></b>
This one is a gladiator battle between Wonder Woman and Medusa. I really enjoyed this one, the art was amazing and we even get a few scenes with Circe-witch on it. I love how Wonder Woman is presented to be smart and the sacrifice that she made was very brave. Such a powerful story! Amazing!
<b>‘’Sacrifice: Part four’’ from Wonder Woman #219 (2005)
<i>Scripts: Greg Rucka; Pencils:Rags Morales, David Lopez, Tom Derenick, Georges Jeanty & Karl Kerschl; Inks: Mark Propst, BIT, Dexter Vines, Bob Petrecca & Nelson; Colors: Richard & Tanya Horie; Letters: Todd Klein; Cover: J.G. Jones</i></b>
Superman has been brainwashed and wants to kill Diana. Not much happens apart from Wonder Woman and Superman fighting. I didn’t like this one, only because of one quote that says:
<b><i>‘’You’ll forgive me for saying it, princess, but you look good on your knees…’’</i></b>
<b>‘’A Murder Of Crows: Part Two - Throwdown’’ from Wonder Woman #41 (2010)
<i>Script: Gail Simone; Pencils: Chris Batista & Fernando Dagnino; Inks: Doug Hazlewood & Raul Fernandez; Colors: Brad Anderson; Letters: Travis Lanham; Cover: Aaron Lopresti</i></b>
Even though the beginning features Achilles and Patroclus, after a page or two we don’t see them anymore, and I am standing like… what’s the point in mentioning them in the first place then? This piece of art contains a battle between Power Girl and Wonder Woman, and how Power Girl can never be like Wonder Woman, unless, of course, she has no other choice.
I liked this one, maybe the most, even though the art was just average.
<b>‘’Justice League: Part Three’’ from Justice League #3 (2011)
<i>Script: Geoff Johns; Pencils: Jim Lee; Inks: Scott Williams; Colors: Alex Sinclair, HI-FI & Gabe Ettaeb; Letters: Pat Brosseau; Cover: Jim Lee, Scott Williams & Alex Sinclair</i></b>
This piece of art was different than anything else in this book. We see a lot of famous heroes fight, like Superman, Batman, Green Lantern, Aquaman, and of course, Wonder Woman. The art is really colourful, which I enjoyed, but the story was confusing. See, it started from the middle of a comic book, and then ended unfinished. It only covered the part where Wonder Woman appears, but it confused me and I didn’t enjoy the story as much. Again, I didn’t like the way how they express themselves to a woman. They see Wonder Woman and they call dibs on her. Really?
<b>‘’Goddown’’ from Wonder Woman #23 (2013)
<i>Script: Brian Azzarello; Art: Cliff Chiang; Colors: Matthew Wilson; Letters: Jared K. Fletcher; Cover: Cliff Chiang </i></b>
A very confusing chapter, and I didn’t enjoy it at all. It was about Hera and her children, and Wonder Woman protecting them. Even though this is the newest made, it didn’t seem like it, and the art seemed old-style.
Overall, I didn’t enjoy it as much, and it wouldn’t be something I’d choose in the future. I’d rather go with a proper beginning-to-end story rather than a compilation next time.
<a href="https://diaryofdifference.com/">Blog</a>; | <a href="https://www.facebook.com/diaryofdifference/">Facebook</a>; | <a href="https://twitter.com/DiaryDifference">Twitter</a>; | <a href="https://www.instagram.com/diaryofdifference/">Instagram</a>; | <a href="https://www.pinterest.co.uk/diaryofdifference/pins/">Pinterest</a>;
<img src="https://gipostcards.files.wordpress.com/2018/08/book-review-1.png"/>;
This is my first graphic novel, and I did enjoy the art in it! This book contains the greatest battles of Wonder Woman. It is a compilation of seven comic book scenes, all sharing a different battle of Wonder Woman, and a different kind of art.. But even though I enjoyed the art, as a first one, this didn’t make me happy.
The stories are put in this compilation chronologically by when they were made, starting from a scene that was made in 1987, until the last one, which was made in 2013. I will give a brief comment on all of them - in order:
<b>‘’Power Play’’ from Wonder Woman #6 (1987)
<i>Plot & Pencils: George Perez, Script: Len Wein, Inks: Bruce Patterson, Colors: Tatjana Wood, Letters: John Costanza, Cover: George Perez</i></b>
The first story is a scene where Diana is fighting the god of war - Ares. As a first one, it is not the best descriptive piece of information - so for a person that haven’t heard about Wonder Woman before, this one won’t be of any use. I also didn’t quite enjoy the art in this one.
<b><i>‘’And for the first time in his immortal existence, the war-god weeps… for, without those alive to worship him, Ares’ power swiftly wanes…’’</i></b>
<b>‘’In The Forest Of The Night’’ from Wonder Woman #119 (1997)
<i>Story & Art: John Byrne; Colors: Patricia Mulvihill; Cover: Jose Luis Garcia-Lopez</i></b>
In this scene, Diana is on a mission to save officer Michael P. Schorr of the G.C.P.D. from the cheetah that used to be Barbara Minerva. Diana manages to convince Barbara to win the battle with herself and become human again. Even though I didn’t quite enjoy the art - I did enjoy the story itself. It was a great lesson of fighting for who you are within, and winning battles with yourself and not surrendering to anything that might be in your way. We also get to have a little sneak-peak of how Wonder Woman started existing in the first place.
<b><i>‘’Yes, Mike, it is not widely known, but I was not born as mortals are, my mother sculpted a baby from the clay of Themyscira and the Gods themselves breathed life into that clay. ‘’</i></b>
<img src="https://gipostcards.files.wordpress.com/2018/08/book-cover-4.png"/>;
<b>‘’Stoned: Conclusion’’ from Wonder Woman #210 (2005)
<i>Script: Greg Rucka; Pencils: Drew Johnson; Inks: Ray Snyder; Colors: Richard & Tanya Horie; Letters: Todd Klein; Cover: J.G. Jones</i></b>
This one is a gladiator battle between Wonder Woman and Medusa. I really enjoyed this one, the art was amazing and we even get a few scenes with Circe-witch on it. I love how Wonder Woman is presented to be smart and the sacrifice that she made was very brave. Such a powerful story! Amazing!
<b>‘’Sacrifice: Part four’’ from Wonder Woman #219 (2005)
<i>Scripts: Greg Rucka; Pencils:Rags Morales, David Lopez, Tom Derenick, Georges Jeanty & Karl Kerschl; Inks: Mark Propst, BIT, Dexter Vines, Bob Petrecca & Nelson; Colors: Richard & Tanya Horie; Letters: Todd Klein; Cover: J.G. Jones</i></b>
Superman has been brainwashed and wants to kill Diana. Not much happens apart from Wonder Woman and Superman fighting. I didn’t like this one, only because of one quote that says:
<b><i>‘’You’ll forgive me for saying it, princess, but you look good on your knees…’’</i></b>
<b>‘’A Murder Of Crows: Part Two - Throwdown’’ from Wonder Woman #41 (2010)
<i>Script: Gail Simone; Pencils: Chris Batista & Fernando Dagnino; Inks: Doug Hazlewood & Raul Fernandez; Colors: Brad Anderson; Letters: Travis Lanham; Cover: Aaron Lopresti</i></b>
Even though the beginning features Achilles and Patroclus, after a page or two we don’t see them anymore, and I am standing like… what’s the point in mentioning them in the first place then? This piece of art contains a battle between Power Girl and Wonder Woman, and how Power Girl can never be like Wonder Woman, unless, of course, she has no other choice.
I liked this one, maybe the most, even though the art was just average.
<b>‘’Justice League: Part Three’’ from Justice League #3 (2011)
<i>Script: Geoff Johns; Pencils: Jim Lee; Inks: Scott Williams; Colors: Alex Sinclair, HI-FI & Gabe Ettaeb; Letters: Pat Brosseau; Cover: Jim Lee, Scott Williams & Alex Sinclair</i></b>
This piece of art was different than anything else in this book. We see a lot of famous heroes fight, like Superman, Batman, Green Lantern, Aquaman, and of course, Wonder Woman. The art is really colourful, which I enjoyed, but the story was confusing. See, it started from the middle of a comic book, and then ended unfinished. It only covered the part where Wonder Woman appears, but it confused me and I didn’t enjoy the story as much. Again, I didn’t like the way how they express themselves to a woman. They see Wonder Woman and they call dibs on her. Really?
<b>‘’Goddown’’ from Wonder Woman #23 (2013)
<i>Script: Brian Azzarello; Art: Cliff Chiang; Colors: Matthew Wilson; Letters: Jared K. Fletcher; Cover: Cliff Chiang </i></b>
A very confusing chapter, and I didn’t enjoy it at all. It was about Hera and her children, and Wonder Woman protecting them. Even though this is the newest made, it didn’t seem like it, and the art seemed old-style.
Overall, I didn’t enjoy it as much, and it wouldn’t be something I’d choose in the future. I’d rather go with a proper beginning-to-end story rather than a compilation next time.
<a href="https://diaryofdifference.com/">Blog</a>; | <a href="https://www.facebook.com/diaryofdifference/">Facebook</a>; | <a href="https://twitter.com/DiaryDifference">Twitter</a>; | <a href="https://www.instagram.com/diaryofdifference/">Instagram</a>; | <a href="https://www.pinterest.co.uk/diaryofdifference/pins/">Pinterest</a>;
Kirk Bage (1775 KP) rated Call Me by Your Name (2017) in Movies
Mar 3, 2020
There are a swathe of European film-makers like Luca Guadagnino and Paolo Sorrentino that have the skill to make every image they print to film look like a work of art, giving you the feeling you are on the most idyllic holiday you ever had. Watching a largely silent image of a beautiful lake or a tree in the breeze, or an al fresco dinner where family and friends talk freely whilst the wine and olive oil flow is a treat I am not immune to.
Continuing to catch up on Oscar nominated films of recent years I have missed, I went on holiday in 1982 Italy for 2 hours last night. There was culture, architecture, piano music, food, nature, and a big peachy dollop of sensuality – thinly veiled as dramatic cinema. It washed over me like a daydream! And if I say nothing really happens, I wouldn’t necessarily call it a criticism. It ambles along at such a languid pace at times, with such little conflict or incident, but to call it insignificant would be a disservice to the power of love at its palpable heart.
Essentially, it is a right of passage movie, that defies gloriously every hollywood habit of over egging the souffle. For minutes on end we watch Elio, the formidable natural talent of Timothée Chalamet, read a book, go for a swim, ride a bike, play the piano, or fuck some fruit, as he gradually descends into obsession, and ultimately love, for the older Armie Hammer as the aloof and seemingly worldly Oliver, his father’s research assistant for the Summer.
It feels for a long, long time like you might not care, such a tale of rich privilege as it is; but, by the final moments you do realise you have been drawn into the depth of feeling that is often hidden in plain sight, and that you may after all relate to the heartbreak contained in loving an idea of love and passion that is never attainable in reality. The self discovery of a passion within you as a life force is a melancholy reward in and of itself.
I know already that I must return to this film from time to time in a variety of moods, because it has a depth of subtlety that may catch me differently every time; and that is its main power. The key to which is Chalamet. His eyes and body language are so filled with hidden wonders that his words don’t always convey, that his work seems more like a strange dance than your average screen performance, that often simply takes the script and merely reads it aloud.
The remarkable career of Michael Stuhlbarg, as Elio’s father, is also noteworthy here. Take a look at how many great films he has now been a part of and gasp to think, oh wow, that is the same guy! His paternal speech to Elio at the end of this film was a highlight for me. Such gorgeous writing, that combines character with wisdom and weakness in a tapestry of care and regret. Just wonderful.
You know, I came into writing this review feeling that I had found the experience quite disposable and slight. That clearly isn’t the case. This is obviously a film you must watch again, meeting it where it wants to meet you. Not to mention I have always been a Sufjan Stevens fan, and found his contribution to the musical landscape near perfect. In conclusion, there is a banquet here masquerading as a taste of something sweet brushing the lips. I will be back for a second bite in time.
Continuing to catch up on Oscar nominated films of recent years I have missed, I went on holiday in 1982 Italy for 2 hours last night. There was culture, architecture, piano music, food, nature, and a big peachy dollop of sensuality – thinly veiled as dramatic cinema. It washed over me like a daydream! And if I say nothing really happens, I wouldn’t necessarily call it a criticism. It ambles along at such a languid pace at times, with such little conflict or incident, but to call it insignificant would be a disservice to the power of love at its palpable heart.
Essentially, it is a right of passage movie, that defies gloriously every hollywood habit of over egging the souffle. For minutes on end we watch Elio, the formidable natural talent of Timothée Chalamet, read a book, go for a swim, ride a bike, play the piano, or fuck some fruit, as he gradually descends into obsession, and ultimately love, for the older Armie Hammer as the aloof and seemingly worldly Oliver, his father’s research assistant for the Summer.
It feels for a long, long time like you might not care, such a tale of rich privilege as it is; but, by the final moments you do realise you have been drawn into the depth of feeling that is often hidden in plain sight, and that you may after all relate to the heartbreak contained in loving an idea of love and passion that is never attainable in reality. The self discovery of a passion within you as a life force is a melancholy reward in and of itself.
I know already that I must return to this film from time to time in a variety of moods, because it has a depth of subtlety that may catch me differently every time; and that is its main power. The key to which is Chalamet. His eyes and body language are so filled with hidden wonders that his words don’t always convey, that his work seems more like a strange dance than your average screen performance, that often simply takes the script and merely reads it aloud.
The remarkable career of Michael Stuhlbarg, as Elio’s father, is also noteworthy here. Take a look at how many great films he has now been a part of and gasp to think, oh wow, that is the same guy! His paternal speech to Elio at the end of this film was a highlight for me. Such gorgeous writing, that combines character with wisdom and weakness in a tapestry of care and regret. Just wonderful.
You know, I came into writing this review feeling that I had found the experience quite disposable and slight. That clearly isn’t the case. This is obviously a film you must watch again, meeting it where it wants to meet you. Not to mention I have always been a Sufjan Stevens fan, and found his contribution to the musical landscape near perfect. In conclusion, there is a banquet here masquerading as a taste of something sweet brushing the lips. I will be back for a second bite in time.
Gareth von Kallenbach (971 KP) rated Spider-Man: Homecoming (2017) in Movies
Jul 11, 2019
What would you do if you discovered you had superpowers in adolescence? How would you juggle being a fighter for justice and try to have a normal teenage experience? Spider-Man: Homecoming offers a more realistic look at how this would take place. Where the previous series of films never seemed to make that connection of balancing one’s youth and the varied problems that come during that period with what it means to be a superhero. The Tobey Maguire and the forgettable Andrew Garfield portrayals relied on a more comic book look and storylines to bring audiences to the theaters. This is not the case for the newest iteration. The film is not presumptuous or pretentious in its approach.
Tom Holland returns to the Marvel Universe as Spider-Man after being introduced in Captain America: Civil War. In this version, the audience is not subjected to an origin story to carry the bulk of the film. Instead, it addresses the issues of Spider-Man’s genesis in the previous film so that audiences can arrive in their seats ready to watch the action unfold. From the first opening frames of the films, we bear witness to the development of this story which builds off of The Avengers as we are introduced to Adrian Toomes (Michael Keaton), owner of a salvage company tasked with cleaning up the city. Upon his operation, he and his crew begin to discover the power of the alien equipment that they begin to sell on the black market. The development of this character is done with more care than previous films where the villains’ backstories rely simply on jealousy, seeking power, or just a thirst for chaos. The film shows a man who feels wronged by the system and simply wants to provide for his family. We are allowed to make a connection with “The Vulture” that makes us question if whether we would do anything much differently than he.
The same development is demonstrated with Tom Holland’s portrayal of Spider-Man. He is thrust into this role through the encouragement of Tony Stark, but when Stark doesn’t return his calls or seem to express interest after the battle scene in Captain America: Civil War, he tries to demonstrate his worth through becoming a local superhero. With that new calling, to paraphrase a statement made popular in Spider-Man, comes great responsibility. He must balance his life and try to compartmentalize his existence. The film does not disappoint in allowing the viewers to see Peter Parker as more than Spider-Man. They begin to see all the varied aspects of who he is and his rationale for being a superhero. We bear witness to the pain that he feels in having to keep his identity a secret from his friends and Aunt Mae. His superpowers and abilities come to be seen as a heavy burden that begins pulling him apart. He has to grow and understand who he is in order to be capable of everything he seeks to be.
Spider-Man Homecoming does not disappoint. It is by far, the best Marvel film made due to its ability to connect with fans of different ages and interests. The film is fun, funny, creative, and will have viewers forget about any previous versions and films. Tom Holland is the perfect fit for Peter Parker and an even better fit for Spider-Man. The film is mature, filled with depth, emotion, and many connections to other superhero films in the Marvel cinematic universe. It is well on its way to ensuring that the franchise will have a long life.
Tom Holland returns to the Marvel Universe as Spider-Man after being introduced in Captain America: Civil War. In this version, the audience is not subjected to an origin story to carry the bulk of the film. Instead, it addresses the issues of Spider-Man’s genesis in the previous film so that audiences can arrive in their seats ready to watch the action unfold. From the first opening frames of the films, we bear witness to the development of this story which builds off of The Avengers as we are introduced to Adrian Toomes (Michael Keaton), owner of a salvage company tasked with cleaning up the city. Upon his operation, he and his crew begin to discover the power of the alien equipment that they begin to sell on the black market. The development of this character is done with more care than previous films where the villains’ backstories rely simply on jealousy, seeking power, or just a thirst for chaos. The film shows a man who feels wronged by the system and simply wants to provide for his family. We are allowed to make a connection with “The Vulture” that makes us question if whether we would do anything much differently than he.
The same development is demonstrated with Tom Holland’s portrayal of Spider-Man. He is thrust into this role through the encouragement of Tony Stark, but when Stark doesn’t return his calls or seem to express interest after the battle scene in Captain America: Civil War, he tries to demonstrate his worth through becoming a local superhero. With that new calling, to paraphrase a statement made popular in Spider-Man, comes great responsibility. He must balance his life and try to compartmentalize his existence. The film does not disappoint in allowing the viewers to see Peter Parker as more than Spider-Man. They begin to see all the varied aspects of who he is and his rationale for being a superhero. We bear witness to the pain that he feels in having to keep his identity a secret from his friends and Aunt Mae. His superpowers and abilities come to be seen as a heavy burden that begins pulling him apart. He has to grow and understand who he is in order to be capable of everything he seeks to be.
Spider-Man Homecoming does not disappoint. It is by far, the best Marvel film made due to its ability to connect with fans of different ages and interests. The film is fun, funny, creative, and will have viewers forget about any previous versions and films. Tom Holland is the perfect fit for Peter Parker and an even better fit for Spider-Man. The film is mature, filled with depth, emotion, and many connections to other superhero films in the Marvel cinematic universe. It is well on its way to ensuring that the franchise will have a long life.
Gareth von Kallenbach (971 KP) rated Ant-Man (2015) in Movies
Jun 19, 2019
Scott Lang (Paul Rudd) is a man who cannot seem to catch a break. He is a wizard with technology and became a folk hero when he struck back at a company that was defrauding its employees, but in doing so earned a stretch at San Quentin.
Scott is a going guy trying to do right by his daughter but his ex is not making it easy as she has halted all visitations until Scott gets his own place and a job. Something that is not so easy with his record and something that the new man in his ex’s life, a cop named Paxton, (Bobby Cannavale), is more than happy to goad him over.
Scott’s best friend is his ex-cell mate Luis (Michael Pena) is more than happy to give Scott a place to stay and a sympathetic ear, but is constantly trying to get Scott to use his skills to cash in on some various criminal undertakings.
At the same time, Darren Cross (Corey Stoll) is about to launch his devious new business venture that will endanger the fate of the free world, and the unstable Cross is just the right mix of brilliant and crazy to make his latest creation one of the greatest dangers the world has ever known.
Cross is about to unveil a new combat soldier who is loaded in a laser spewing suit of armor who can shrink to microscopic size while retaining supreme strength and agility. Cross sees armies of his Yellow Jacket soldiers as the future, and his creation is something the folks at Hydra are very interested in.
For Dr. Hank Pym (Michael Douglass), and his daughter Hope (Evangaline Lilly), this is not something that can be allowed to happen, as Cross was once the protégé for Pym and he knows all too well what he is capable of, as such his daughter is willing to work with her father despite some serious tension between them due to the loss of her mother years earlier.
When Scott in an act of desperation breaks into a safe at an upscale home, he is shocked to find little of value save for what he thinks is a motorcycle suit. Once he puts on the suit, Scott learns that he has been watched by Hank for years and that he is being recruited to be the new Ant-man. A hero from days past that Hank created but now is no longer capable of portraying.
Naturally Hope is less than thrilled with the idea of Scott being selected by her father as she had hoped to earn the suit herself. Undaunted, they set out to train Scott in the power behind the suit which also includes the ability to control ants, as they concoct the ultimate heist, stealing the Yellow Jacket suit and all the related research before it is too late.
What follows is a funny and action laden adventure which launches a new hero in the Marvel Cinematic Universe. Although the character is not as well-known as his cinematic brethren in the Marvel lineup, he is a very welcome addition. The cast is solid and Rudd captures the mix of wonder and conflict that Scott faces with what has been offered to him and he mixes comedy with a very physical performance.
The film does take some time getting up to speed as it is after all an introduction story but with the pleasant comedy and great FX mixing with a satisfying final act, “Ant-Man”, is yet another winner for Marvel and another character I cannot wait to see more of in the future. Make sure you stay for the two bonus scenes in the credits as you will not be disappointed.
http://sknr.net/2015/07/17/ant-man/
Scott is a going guy trying to do right by his daughter but his ex is not making it easy as she has halted all visitations until Scott gets his own place and a job. Something that is not so easy with his record and something that the new man in his ex’s life, a cop named Paxton, (Bobby Cannavale), is more than happy to goad him over.
Scott’s best friend is his ex-cell mate Luis (Michael Pena) is more than happy to give Scott a place to stay and a sympathetic ear, but is constantly trying to get Scott to use his skills to cash in on some various criminal undertakings.
At the same time, Darren Cross (Corey Stoll) is about to launch his devious new business venture that will endanger the fate of the free world, and the unstable Cross is just the right mix of brilliant and crazy to make his latest creation one of the greatest dangers the world has ever known.
Cross is about to unveil a new combat soldier who is loaded in a laser spewing suit of armor who can shrink to microscopic size while retaining supreme strength and agility. Cross sees armies of his Yellow Jacket soldiers as the future, and his creation is something the folks at Hydra are very interested in.
For Dr. Hank Pym (Michael Douglass), and his daughter Hope (Evangaline Lilly), this is not something that can be allowed to happen, as Cross was once the protégé for Pym and he knows all too well what he is capable of, as such his daughter is willing to work with her father despite some serious tension between them due to the loss of her mother years earlier.
When Scott in an act of desperation breaks into a safe at an upscale home, he is shocked to find little of value save for what he thinks is a motorcycle suit. Once he puts on the suit, Scott learns that he has been watched by Hank for years and that he is being recruited to be the new Ant-man. A hero from days past that Hank created but now is no longer capable of portraying.
Naturally Hope is less than thrilled with the idea of Scott being selected by her father as she had hoped to earn the suit herself. Undaunted, they set out to train Scott in the power behind the suit which also includes the ability to control ants, as they concoct the ultimate heist, stealing the Yellow Jacket suit and all the related research before it is too late.
What follows is a funny and action laden adventure which launches a new hero in the Marvel Cinematic Universe. Although the character is not as well-known as his cinematic brethren in the Marvel lineup, he is a very welcome addition. The cast is solid and Rudd captures the mix of wonder and conflict that Scott faces with what has been offered to him and he mixes comedy with a very physical performance.
The film does take some time getting up to speed as it is after all an introduction story but with the pleasant comedy and great FX mixing with a satisfying final act, “Ant-Man”, is yet another winner for Marvel and another character I cannot wait to see more of in the future. Make sure you stay for the two bonus scenes in the credits as you will not be disappointed.
http://sknr.net/2015/07/17/ant-man/