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Charlie Cobra Reviews (1840 KP) rated Toy Story 4 (2019) in Movies
Jul 7, 2020
Funny, Heartwarming, And Beautifully Animated
Toy Story 4 is a 2019 CG/comedy movie directed by Josh Cooley and based on screenplay written by Andrew Stanton, and Stephany Folsom; along with John Lasseter, Rashida Jones, Will McCormack, Valerie LaPointe, and Martin Hynes. It was produced by Picard Animation Studios for Walt Disney Pictures and distributed by Walt Disney Studios Motion Pictures. The film stars Tom Hanks, Tim Allen, Annie Potts, Tony Hale, Keegan-Michael Key, Jordan Peele and Keanu Reeves.
Woody (Tom Hanks) and the other toys are happy in their new life after Andy donates his toys to Bonnie; but Woody worries Bonnie will feel overwhelmed at school when she starts kindergarten. Woody sneaks into her backpack and recovers her arts and crafts supplies when a classmate throws them away. She uses the supplies, including a spork Woody grabbed to create a handmade toy she names "Forky" (Tony Hale). And when Bonnie and her family go on a road trip, Forky jumps out of the window setting off a chain of events that will change the group forever.
This movie was funny, stunningly animated, and emotionally touching. They really were shooting to impress with the amount of detail they had in this movie, from the glossy porcelain shine of Bopeep, to the fur on the cat, to all the other toys little details. I liked how the action was very character driven and how the storytelling was really well done. The character growth/arc for Bopeep was one of my favorites and I really enjoyed the cast of new characters and how they were incorporated as well like, Keanu Reeves and Key and Peele. This was such a great movie and it got me choked up at the end of the movie and I couldn't find anything to really complain about but then I read an article that made me question how I felt about it and what I saw. I'll see if I can add the link to it at the end of my review. It ultimately made me drop my rating by a point, I almost gave this movie a 9, but I give it a 8/10. But I do give it my "Must See Seal Of Approval".
Here is the link to the article: https://www.gamespot.com/articles/theres-a-problem-with-toy-story-4-opinion/1100-6468073/
Woody (Tom Hanks) and the other toys are happy in their new life after Andy donates his toys to Bonnie; but Woody worries Bonnie will feel overwhelmed at school when she starts kindergarten. Woody sneaks into her backpack and recovers her arts and crafts supplies when a classmate throws them away. She uses the supplies, including a spork Woody grabbed to create a handmade toy she names "Forky" (Tony Hale). And when Bonnie and her family go on a road trip, Forky jumps out of the window setting off a chain of events that will change the group forever.
This movie was funny, stunningly animated, and emotionally touching. They really were shooting to impress with the amount of detail they had in this movie, from the glossy porcelain shine of Bopeep, to the fur on the cat, to all the other toys little details. I liked how the action was very character driven and how the storytelling was really well done. The character growth/arc for Bopeep was one of my favorites and I really enjoyed the cast of new characters and how they were incorporated as well like, Keanu Reeves and Key and Peele. This was such a great movie and it got me choked up at the end of the movie and I couldn't find anything to really complain about but then I read an article that made me question how I felt about it and what I saw. I'll see if I can add the link to it at the end of my review. It ultimately made me drop my rating by a point, I almost gave this movie a 9, but I give it a 8/10. But I do give it my "Must See Seal Of Approval".
Here is the link to the article: https://www.gamespot.com/articles/theres-a-problem-with-toy-story-4-opinion/1100-6468073/
LeftSideCut (3778 KP) rated The Batman (2022) in Movies
Mar 7, 2022
Like many others, I've been pretty much sold on The Batman since the first trailer dropped, to the point where I was worried that my own hype would leave me disappointed. Luckily that's not the case. Matt Reeves has crafted the definitive live action Batman experience.
The character himself has gone through many iterations over the years, and most of them come with their own merits, but he works aesthetically and thematically better at the darker end of the spectrum. This Batman is certainly that. The narrative takes place wholeheartedly in the criminal underbelly of Gotham, bathing in it's corruption. It's noir-thriller construction compliments the setting perfectly, presenting a slow burning crime piece, with occasional bursts of action, that never feels boring over its near 3 hour runtime.
Pattinsons take on the character could be the very best yet. Through projects such as The Lighthouse and Tenet, he's proven that he has the chops for this kind of thing, and he nails it without a doubt. I was pleasantly surprised by how much on screen Batman we got. He's under the cowl more often than not, and it's an understandable direction to take considering how great the suit looks alongside the general aesthetic of the film. Paul Dano's Riddler is a worthy foe as well. This villain is portrayed as unhinged and dangerous from the get go, a person who is angry and upset with the world, and who has the capacity to bring Gotham to its knees. His master plan is wonderful to watch unfold. Dano is golden in anything he appears in, and my only real complaint about The Batman is that we didn't get more of him.
Colin Farrell, Zoe Kravitz, Jeffrey Wright, and John Turturro are all fantastic supports. It's a well rounded cast, playing well written characters.
The direction and cinematography on display is some of the best I've ever seen in a comic book movie. Reeves has a great eye, from Cloverfield to his Planet of the Apes entries, he has a certain brand of cinema magic that suits Gotham down to the ground. Throw Greig Fraser into the mix, fresh from his outstanding work with Dune, and you have a pretty solid pairing that results in a breathtaking, visual feast, all backed up by a phenomenal music score, from the ever reliable Michael Giacchino.
I can't heap enough praise onto The Batman, a patient, unforgiving, enthralling, and bleak comic adaption that sits at the top of the pile that is deserving of its glowing reviews.
The character himself has gone through many iterations over the years, and most of them come with their own merits, but he works aesthetically and thematically better at the darker end of the spectrum. This Batman is certainly that. The narrative takes place wholeheartedly in the criminal underbelly of Gotham, bathing in it's corruption. It's noir-thriller construction compliments the setting perfectly, presenting a slow burning crime piece, with occasional bursts of action, that never feels boring over its near 3 hour runtime.
Pattinsons take on the character could be the very best yet. Through projects such as The Lighthouse and Tenet, he's proven that he has the chops for this kind of thing, and he nails it without a doubt. I was pleasantly surprised by how much on screen Batman we got. He's under the cowl more often than not, and it's an understandable direction to take considering how great the suit looks alongside the general aesthetic of the film. Paul Dano's Riddler is a worthy foe as well. This villain is portrayed as unhinged and dangerous from the get go, a person who is angry and upset with the world, and who has the capacity to bring Gotham to its knees. His master plan is wonderful to watch unfold. Dano is golden in anything he appears in, and my only real complaint about The Batman is that we didn't get more of him.
Colin Farrell, Zoe Kravitz, Jeffrey Wright, and John Turturro are all fantastic supports. It's a well rounded cast, playing well written characters.
The direction and cinematography on display is some of the best I've ever seen in a comic book movie. Reeves has a great eye, from Cloverfield to his Planet of the Apes entries, he has a certain brand of cinema magic that suits Gotham down to the ground. Throw Greig Fraser into the mix, fresh from his outstanding work with Dune, and you have a pretty solid pairing that results in a breathtaking, visual feast, all backed up by a phenomenal music score, from the ever reliable Michael Giacchino.
I can't heap enough praise onto The Batman, a patient, unforgiving, enthralling, and bleak comic adaption that sits at the top of the pile that is deserving of its glowing reviews.
Chris Sawin (602 KP) rated The Batman (2022) in Movies
Mar 6, 2022
Paul Dano and Colin Farrell's Performances (2 more)
The Batmobile car chase with Oz
The different/damaged take on Bruce Wayne
Entirely too long - too much detective work (2 more)
Little to no chemistry between The Bat and The Cat
The raspy adventures of Batsy and Jimbo
When is a Bat Not Quite a Bat?
Matt Reeves’ The Batman isn’t an origin story. Instead Bruce Wayne (Robert Pattinson) treats every villain and every thug as if they were the ones to take his parents away from him. This is a version of Bruce Wayne that hates being Bruce Wayne; Batman is his legacy. The tragedy of losing his parents is his most defining characteristic. Bruce is a social hermit and the world’s biggest introvert in The Batman.
The Riddler (Paul Dano) kills Gotham’s mayor on Halloween night and he continues to target key political figures throughout the film. A cryptic riddle is left for Batman at every crime scene revealing just a big enough clue to keep Batman and Jim Gordon (Jeffrey Wright) entangled in Riddler’s enigmatic bloodbath. As Batman crosses paths with a cat-loving thief named Selina Kyle (Zoe Kravitz) and the magnificently sleazy Iceberg Lounge owner Oswald Cobblepot (Colin Farrell), he soon realizes that the Wayne family may be a bigger piece of the puzzle than he originally imagined.
Paul Dano is essentially the highlight of the film. Matt Reeves stated that his inspiration for his version of the character was The Zodiac Killer and it shows. Riddler’s costume is basically a camouflage gimp outfit with tactical advantages and a fetish for duct tape. Dano’s performance is haunting. His riddles are more akin to Jigsaw’s games from the Saw franchise. The character is at his best when he’s showcased in grainy cell phone videos where his shouting and heavy breathing are even more distorted than if he was standing right in front of you. The intriguing aspect is that Dano seems to be even more mesmerizing as the character once he’s unmasked. He’s able to tap into this lunacy, this dread, and this hypnotic terror that defines the character whether he’s hiding his face or not.
Featured less prominently is Colin Farrell as Oswald Cobblepot, who also delivers a fantastic performance. Farrell is so unrecognizable thanks to the facial prosthetics and fat suit that he’s wearing. Some of the aspects of The Penguin that makes him so dangerous is that he’s incredibly resourceful and he can talk his way into and out of just about anything. Farrell’s best moments as the character come during the Batmobile chase featured in the trailer followed by the conversation Batman and Gordon have with him immediately afterwards. You never knew how much you needed a Spanish lesson from Oz until Matt Reeves came along.
The Batmobile car chase is the best sequence of the film. It’s absolutely explosive and worth seeing in a theater. Michael Giacchino’s score is also bold and thrilling; it helps define the Batman character for a new generation with an undeniably epic theme. Matt Reeves compared Bruce Wayne to Kurt Cobain in this film. Bruce’s relationship with the spotlight and how he’d rather stay away from it is a lot like how Cobain viewed being famous. “Something in the Way” by Nirvana fits the Batman universe so well and it’s surprising nobody has ever thought of utilizing it until now.
This unusual version of Bruce Wayne in The Batman makes it feel unlike any other Batman film. Bruce Wayne is typically a playboy that is consistently showcased at public events that flaunts his fortune and bounces from woman to woman on a nightly basis. In The Batman, we see the smudged black eye makeup as Bruce takes off his cowl. Robert Pattinson didn’t bulk up for the role, so he has this pale and gaunt appearance. He has no interest in the business his father left him in charge of. Vengeance is his only purpose.
The Batman is also the first Batman film to actually feel like a detective story. So much time is devoted to the investigation aspect of the film; maybe too much time. The film is five minutes shy of being three hours long and The Batman feels like a three hour film. Some of these sequences feel like they could have been trimmed (did we really need to see Batman or Bruce Wayne go to the Iceberg Lounge so many times?) or cut entirely, but everything feels like it’s part of the bigger picture of capturing The Riddler. Every little stop along the way leads to the next clue or next big encounter. Unfortunately, it feels like a chore listening to Batman answer riddles for the sixth time in the midst of three hours.
Robert Pattinson is a seriously talented actor outside of the Twilight franchise and Zoe Kravitz chooses interesting projects to be a part of, but their chemistry in The Batman feels forced. Batman tracks down Selina Kyle almost like a stalker as he starts inserting himself into her life after a random encounter at The Iceberg Lounge. Despite being friends in real life, the two actors seem stiff and awkward when they’re around each other. These are two versions of the characters that don’t have the history the comics or the movies laid out for them after decades of publication and on screen appearances. This is supposed to be the first time they’ve met and they go from being bumbling partners to nearly leaving Gotham together after being shot at a few times and finding a dead girl in a trunk; it doesn’t make sense.
Matt Reeves was capable of taking The Batman into a different direction for both the Batman universe and superhero films alike. The action sequences are almost earned here as there’s much more down time while following a lead or doing research. You actually see that Bruce documents his inner monologues and his nightly outings as Batman in handwritten journals. There’s a ton of interesting concepts in The Batman that ultimately don’t pay off.
Paul Dano and Colin Farrell are extraordinary, but The Batman is a three hour slog through Gotham that culminates with an over exaggerated riddle that isn’t worth solving. Having Batman and Jim Gordon both speak in raspy, whispery grunts feels excessive as does Gordon’s insistence on calling Batman, “Chief,” every time that they’re together. The film deserves credit for prominently shining the spotlight on the underbelly of crime in Gotham, but the storytelling in The Batman is a lot like Bugs Bunny meaning to have taken that left turn at Albuquerque; a meandering foray down a dark rabbit hole that isn’t entirely necessary.
The Riddler (Paul Dano) kills Gotham’s mayor on Halloween night and he continues to target key political figures throughout the film. A cryptic riddle is left for Batman at every crime scene revealing just a big enough clue to keep Batman and Jim Gordon (Jeffrey Wright) entangled in Riddler’s enigmatic bloodbath. As Batman crosses paths with a cat-loving thief named Selina Kyle (Zoe Kravitz) and the magnificently sleazy Iceberg Lounge owner Oswald Cobblepot (Colin Farrell), he soon realizes that the Wayne family may be a bigger piece of the puzzle than he originally imagined.
Paul Dano is essentially the highlight of the film. Matt Reeves stated that his inspiration for his version of the character was The Zodiac Killer and it shows. Riddler’s costume is basically a camouflage gimp outfit with tactical advantages and a fetish for duct tape. Dano’s performance is haunting. His riddles are more akin to Jigsaw’s games from the Saw franchise. The character is at his best when he’s showcased in grainy cell phone videos where his shouting and heavy breathing are even more distorted than if he was standing right in front of you. The intriguing aspect is that Dano seems to be even more mesmerizing as the character once he’s unmasked. He’s able to tap into this lunacy, this dread, and this hypnotic terror that defines the character whether he’s hiding his face or not.
Featured less prominently is Colin Farrell as Oswald Cobblepot, who also delivers a fantastic performance. Farrell is so unrecognizable thanks to the facial prosthetics and fat suit that he’s wearing. Some of the aspects of The Penguin that makes him so dangerous is that he’s incredibly resourceful and he can talk his way into and out of just about anything. Farrell’s best moments as the character come during the Batmobile chase featured in the trailer followed by the conversation Batman and Gordon have with him immediately afterwards. You never knew how much you needed a Spanish lesson from Oz until Matt Reeves came along.
The Batmobile car chase is the best sequence of the film. It’s absolutely explosive and worth seeing in a theater. Michael Giacchino’s score is also bold and thrilling; it helps define the Batman character for a new generation with an undeniably epic theme. Matt Reeves compared Bruce Wayne to Kurt Cobain in this film. Bruce’s relationship with the spotlight and how he’d rather stay away from it is a lot like how Cobain viewed being famous. “Something in the Way” by Nirvana fits the Batman universe so well and it’s surprising nobody has ever thought of utilizing it until now.
This unusual version of Bruce Wayne in The Batman makes it feel unlike any other Batman film. Bruce Wayne is typically a playboy that is consistently showcased at public events that flaunts his fortune and bounces from woman to woman on a nightly basis. In The Batman, we see the smudged black eye makeup as Bruce takes off his cowl. Robert Pattinson didn’t bulk up for the role, so he has this pale and gaunt appearance. He has no interest in the business his father left him in charge of. Vengeance is his only purpose.
The Batman is also the first Batman film to actually feel like a detective story. So much time is devoted to the investigation aspect of the film; maybe too much time. The film is five minutes shy of being three hours long and The Batman feels like a three hour film. Some of these sequences feel like they could have been trimmed (did we really need to see Batman or Bruce Wayne go to the Iceberg Lounge so many times?) or cut entirely, but everything feels like it’s part of the bigger picture of capturing The Riddler. Every little stop along the way leads to the next clue or next big encounter. Unfortunately, it feels like a chore listening to Batman answer riddles for the sixth time in the midst of three hours.
Robert Pattinson is a seriously talented actor outside of the Twilight franchise and Zoe Kravitz chooses interesting projects to be a part of, but their chemistry in The Batman feels forced. Batman tracks down Selina Kyle almost like a stalker as he starts inserting himself into her life after a random encounter at The Iceberg Lounge. Despite being friends in real life, the two actors seem stiff and awkward when they’re around each other. These are two versions of the characters that don’t have the history the comics or the movies laid out for them after decades of publication and on screen appearances. This is supposed to be the first time they’ve met and they go from being bumbling partners to nearly leaving Gotham together after being shot at a few times and finding a dead girl in a trunk; it doesn’t make sense.
Matt Reeves was capable of taking The Batman into a different direction for both the Batman universe and superhero films alike. The action sequences are almost earned here as there’s much more down time while following a lead or doing research. You actually see that Bruce documents his inner monologues and his nightly outings as Batman in handwritten journals. There’s a ton of interesting concepts in The Batman that ultimately don’t pay off.
Paul Dano and Colin Farrell are extraordinary, but The Batman is a three hour slog through Gotham that culminates with an over exaggerated riddle that isn’t worth solving. Having Batman and Jim Gordon both speak in raspy, whispery grunts feels excessive as does Gordon’s insistence on calling Batman, “Chief,” every time that they’re together. The film deserves credit for prominently shining the spotlight on the underbelly of crime in Gotham, but the storytelling in The Batman is a lot like Bugs Bunny meaning to have taken that left turn at Albuquerque; a meandering foray down a dark rabbit hole that isn’t entirely necessary.
BankofMarquis (1832 KP) rated Nobody (2021) in Movies
Apr 27, 2021
A Fun Romp
Any fan of one of the greatest TV series of all-time, BREAKING BAD, or it’s spin-off, BETTER CALL SAUL, know the acting chops that Bob Odenkirk brings to the role of slimey, billboard lawyer Saul Goodman. His fast-talking, fast-thinking con-man is a character for the ages.
So, naturally, one would think “action star”.
But, darn it, if it doesn’t work.
Playing a retired undercover agent with a “certain set of skills”, NOBODY follows “Hutch” Mansell as he gets pulled back into using those skills when he helps a young woman who is being harassed on a bus, only to find out the thugs he went against are connected to the Russian Mob.
You can pretty much fill in the blanks from there. This film does not really tread any new ground…but…gosh…it was a fun watch.
Playing a more comedic hero than Liam Neeson in the TAKEN movies or Keanu Reeves’ JOHN WICK, Odenkirk, nonetheless, pulls off the “action hero” qualities just fine and is a winning enough presence on the screen that he holds your attention.
Christopher Lloyd (yes, Doc Brown from BACK TO THE FUTURE) is along for the ride as Odenkirk’s father, who gets pulled into the action when the Russian Mobsters decide to go after Hutch’s family and he looks like he is having a ball with this role.
The rest of the cast is pretty by-the-book (though a special shoutout needs to go to 1980’s heavy, Michael Ironside, who has a short role in this film - I would have loved to have seen more of him). The head Russian mobster is a bit over-the-top for my tastes, but the action sequences more than make up for all of this.
Credit for that must be given to Director Ilya Naishuller (HARDCORE HENRY) for he gives this film a unique look in the fight scenes while constantly having his tongue placed firmly in his cheek. I’ve seen ALOT of action films, so when a film brings something unique and fun to the screen, I sit up and notice.
And, notice I did. For NOBODY is a fun, popcorn flick. One that will be entertaining for the 92 minutes you watch.
Just don’t expect to see it during Awards season next year.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
So, naturally, one would think “action star”.
But, darn it, if it doesn’t work.
Playing a retired undercover agent with a “certain set of skills”, NOBODY follows “Hutch” Mansell as he gets pulled back into using those skills when he helps a young woman who is being harassed on a bus, only to find out the thugs he went against are connected to the Russian Mob.
You can pretty much fill in the blanks from there. This film does not really tread any new ground…but…gosh…it was a fun watch.
Playing a more comedic hero than Liam Neeson in the TAKEN movies or Keanu Reeves’ JOHN WICK, Odenkirk, nonetheless, pulls off the “action hero” qualities just fine and is a winning enough presence on the screen that he holds your attention.
Christopher Lloyd (yes, Doc Brown from BACK TO THE FUTURE) is along for the ride as Odenkirk’s father, who gets pulled into the action when the Russian Mobsters decide to go after Hutch’s family and he looks like he is having a ball with this role.
The rest of the cast is pretty by-the-book (though a special shoutout needs to go to 1980’s heavy, Michael Ironside, who has a short role in this film - I would have loved to have seen more of him). The head Russian mobster is a bit over-the-top for my tastes, but the action sequences more than make up for all of this.
Credit for that must be given to Director Ilya Naishuller (HARDCORE HENRY) for he gives this film a unique look in the fight scenes while constantly having his tongue placed firmly in his cheek. I’ve seen ALOT of action films, so when a film brings something unique and fun to the screen, I sit up and notice.
And, notice I did. For NOBODY is a fun, popcorn flick. One that will be entertaining for the 92 minutes you watch.
Just don’t expect to see it during Awards season next year.
Letter Grade: B
7 Stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (965 KP) rated The Day the Earth Stood Still (2008) in Movies
Aug 14, 2019
In 1951 Director Robert Wise helped create one of the most insightful films of the dawning Science Fiction genre. At that time, the growing theme was the good folks of Earth having to defend ourselves against all manner of evil creatures from beyond.
This tone has carried over to modern day as the notion of hostile invaders from beyond has become part of our cinematic and written culture.
The ironic thing about “The Day The Earth Stood Still” was that it was a cautionary tale that stood apart from the genre films of the day. Instead of an all out assault on humanity, a visitor named Klaatu (Michael Rennie) came to deliver a message that change was needed or else there would be dire consequences. Klaatu told the people of the earth that they must learn to live in peace and make war a thing of the past or they would run the risk of being destroyed by more powerful races that would see them as a threat to their peaceful ways.
Klaatu had a powerful robot named Gort who would destroy any hints of aggression and used him to get his message of the need for peace across.
Now in 2008, 20th Century Fox has recreated this classic tale with a star studded cast and a large production budget.
In the new version, Jennifer Connelly stars as Helen Benson, a scientist who is raising her stepson Jacob (Jaden Smith), who still mourns for his father who was recently killed while serving in the gulf. One night, Helen is taken into custody by agents who whisk her and other scientists to a secret conference where it is learned that an object in on a collision course with Manhattan and that due to a lack of warning, there is no time to evacuate the city.
Just when the gathered group prepares for the worst, the mysterious object lands in the middle of Central Park and after being surrounded by the military, produces a lone being from the interior of the spherical object. Just as Helen is about to make first contact with the being, he is shot by a nervous soldier, and before anyone knows what has happened, a giant mechanized being emerges from the sphere and incapacitates the assembled crowd with a sound wave. Just as the creature is about to take matters further he is called off by the wounded being.
The wounded being is taken to for medical care and the confounded scientists are amazed to find a human being underneath the organic suit that the being was wearing. The being grows very quickly and is soon a full grown adult.
Naturally these events are very concerning to the U.S. government and Defense Secretary Jackson (Kathy Bates). The Being identifies himself as Klaatu (Keanu Reeves), and asks to speak with the leaders of the world about a very important matter. Jackson is convinced that Klaatu is the first wave of an invasion and orders him to be interrogated in order to learn his true mission.
Klaatu is able to escape and soon finds himself on the run with Helen and in doing so, learns about humanity. As his mission is revealed, it soon becomes a race against time for Klaatu and Helen to save the world from the greatest threat it has ever known.
The setup to the new film was very good and I was fortunate enough to see the film at an Imax screen which really enhanced the visuals of the film. Sadly there was not enough action for it to hold my attention as the best visuals in the film were largely shown in the trailer.
Once the events of the plot were put into motion, I found them to be very underwhelming, and the message of the film was lost in a series of muddled dialogue and a script lacking any really tension or drama. Klaatu is supposed to be a fish out of water that learns through Helen and Jacob about the other side of humanity, the one that is not about war, death, and destruction. Yet, thanks to the lack of chemistry between Reeves and the always good Connelly the audience is left with little to root for.
When the action finally comes it is very brief and restrained and not nearly enough to save the film, which stumbles to a very awkward and predictable finale.
I had hoped that this new version would be able to up the action promised in the first film and greater delve into the origins of Klaatu as well as the message of change he brought to humanity. Instead the film loses its way and the message becomes an afterthought leaving the audience with very little.
This tone has carried over to modern day as the notion of hostile invaders from beyond has become part of our cinematic and written culture.
The ironic thing about “The Day The Earth Stood Still” was that it was a cautionary tale that stood apart from the genre films of the day. Instead of an all out assault on humanity, a visitor named Klaatu (Michael Rennie) came to deliver a message that change was needed or else there would be dire consequences. Klaatu told the people of the earth that they must learn to live in peace and make war a thing of the past or they would run the risk of being destroyed by more powerful races that would see them as a threat to their peaceful ways.
Klaatu had a powerful robot named Gort who would destroy any hints of aggression and used him to get his message of the need for peace across.
Now in 2008, 20th Century Fox has recreated this classic tale with a star studded cast and a large production budget.
In the new version, Jennifer Connelly stars as Helen Benson, a scientist who is raising her stepson Jacob (Jaden Smith), who still mourns for his father who was recently killed while serving in the gulf. One night, Helen is taken into custody by agents who whisk her and other scientists to a secret conference where it is learned that an object in on a collision course with Manhattan and that due to a lack of warning, there is no time to evacuate the city.
Just when the gathered group prepares for the worst, the mysterious object lands in the middle of Central Park and after being surrounded by the military, produces a lone being from the interior of the spherical object. Just as Helen is about to make first contact with the being, he is shot by a nervous soldier, and before anyone knows what has happened, a giant mechanized being emerges from the sphere and incapacitates the assembled crowd with a sound wave. Just as the creature is about to take matters further he is called off by the wounded being.
The wounded being is taken to for medical care and the confounded scientists are amazed to find a human being underneath the organic suit that the being was wearing. The being grows very quickly and is soon a full grown adult.
Naturally these events are very concerning to the U.S. government and Defense Secretary Jackson (Kathy Bates). The Being identifies himself as Klaatu (Keanu Reeves), and asks to speak with the leaders of the world about a very important matter. Jackson is convinced that Klaatu is the first wave of an invasion and orders him to be interrogated in order to learn his true mission.
Klaatu is able to escape and soon finds himself on the run with Helen and in doing so, learns about humanity. As his mission is revealed, it soon becomes a race against time for Klaatu and Helen to save the world from the greatest threat it has ever known.
The setup to the new film was very good and I was fortunate enough to see the film at an Imax screen which really enhanced the visuals of the film. Sadly there was not enough action for it to hold my attention as the best visuals in the film were largely shown in the trailer.
Once the events of the plot were put into motion, I found them to be very underwhelming, and the message of the film was lost in a series of muddled dialogue and a script lacking any really tension or drama. Klaatu is supposed to be a fish out of water that learns through Helen and Jacob about the other side of humanity, the one that is not about war, death, and destruction. Yet, thanks to the lack of chemistry between Reeves and the always good Connelly the audience is left with little to root for.
When the action finally comes it is very brief and restrained and not nearly enough to save the film, which stumbles to a very awkward and predictable finale.
I had hoped that this new version would be able to up the action promised in the first film and greater delve into the origins of Klaatu as well as the message of change he brought to humanity. Instead the film loses its way and the message becomes an afterthought leaving the audience with very little.
Gareth von Kallenbach (965 KP) rated Now You See Me (2013) in Movies
Aug 7, 2019
When you were little and you saw your very first magic show, you were probably amazed just by the simple action of a magician waving his magic wand and pulling a rabbit out of his hat. The only explanation you needed was that it was magic.
Not knowing that “the closer you look, the less you see as you become older you become less and less convinced that magic exists.
From French director Louis Leterrier who has brought us films like “The Transporter” and ” Unleashed” comes an “Ocean’s Eleven” style film about four magicians who pull off one of the biggest heists the world has ever seen by using magic.
Calling themselves The Four Horseman, four magicians with very different abilities come together as one to pull off something no other magician has ever attempted.
The leader of the pack is J. Daniel Atlas (Jesse Eisenberg), who is a master at sleight-of-hand and blatant arrogance. A mentalist who specializes in hypnosis and is no stranger to being devious himself is Merritt McKinney (Woody Harrelson). The very talented pickpocket Jack Wilder (Dave Franco) not only steals the audience’s hearts but also can pick a lock blindfolded if he had to.
Last but by no means least is Henley Reeves (Isla Fisher), the sexy escape artist who can even escape a tank full of piranhas without a scratch.
The story follows The Four Horseman embarking on a journey of teleporting and robbing a Parisian bank and reining it over the cheering Las Vegas audience at their first venue.
They don’t stop there. There show takes them from Vegas to the renewed city of New Orleans and then to New York where the grand finally takes place whilst spreading the wealth of their heists to the deserving audience members in grand Robin Hood fashion.
This film is excellent! It doesn’t leave you hanging and answers all your questions. The elaborate tricks performed proved to be very entertaining and exciting!
A neat touch was adding a woman to the mix as you don’t really see any women magicians out there other than the assistants who get sawed in half.
The cast was great and had great chemistry however I would have liked to see a bit more of character backstory. Morgan Freeman, Michael Caine and Mark Ruffalo are also a part of the seemingly big cast. The special effects were not only entertaining but extremely appealing to the eye.
Though the storyline is a little scatterbrained it is anything but a bore and leaves you wanting to experience more. After seeing the film, I had an overwhelming need to watch other magician movies like “The Great Houdini”, “The Prestige”, and “The Illusionist”. It also brought back those same feelings I had as a child experiencing the magic and mystery a true magician can provide. This film left me wanting to see it for a second time.
Not knowing that “the closer you look, the less you see as you become older you become less and less convinced that magic exists.
From French director Louis Leterrier who has brought us films like “The Transporter” and ” Unleashed” comes an “Ocean’s Eleven” style film about four magicians who pull off one of the biggest heists the world has ever seen by using magic.
Calling themselves The Four Horseman, four magicians with very different abilities come together as one to pull off something no other magician has ever attempted.
The leader of the pack is J. Daniel Atlas (Jesse Eisenberg), who is a master at sleight-of-hand and blatant arrogance. A mentalist who specializes in hypnosis and is no stranger to being devious himself is Merritt McKinney (Woody Harrelson). The very talented pickpocket Jack Wilder (Dave Franco) not only steals the audience’s hearts but also can pick a lock blindfolded if he had to.
Last but by no means least is Henley Reeves (Isla Fisher), the sexy escape artist who can even escape a tank full of piranhas without a scratch.
The story follows The Four Horseman embarking on a journey of teleporting and robbing a Parisian bank and reining it over the cheering Las Vegas audience at their first venue.
They don’t stop there. There show takes them from Vegas to the renewed city of New Orleans and then to New York where the grand finally takes place whilst spreading the wealth of their heists to the deserving audience members in grand Robin Hood fashion.
This film is excellent! It doesn’t leave you hanging and answers all your questions. The elaborate tricks performed proved to be very entertaining and exciting!
A neat touch was adding a woman to the mix as you don’t really see any women magicians out there other than the assistants who get sawed in half.
The cast was great and had great chemistry however I would have liked to see a bit more of character backstory. Morgan Freeman, Michael Caine and Mark Ruffalo are also a part of the seemingly big cast. The special effects were not only entertaining but extremely appealing to the eye.
Though the storyline is a little scatterbrained it is anything but a bore and leaves you wanting to experience more. After seeing the film, I had an overwhelming need to watch other magician movies like “The Great Houdini”, “The Prestige”, and “The Illusionist”. It also brought back those same feelings I had as a child experiencing the magic and mystery a true magician can provide. This film left me wanting to see it for a second time.
Bob Mann (459 KP) rated War for the Planet of the Apes (2017) in Movies
Sep 29, 2021
Putting the “ape” in “The Great Esc-ape”.
2011’s “Rise of the Planet of the Apes” was the one of the big movie surprises for me of that year. With staggeringly good mo-cap for the apes and a touching and memorable story it was (or would have been) a 5-Fad classic. 2014’s “Dawn of the Planet of the Apes” whilst also good took a slight backward step. With “War”, the form is back almost to top notch, and this is a summer release at last deserving of the suffix “blockbuster”.
We have moved a number of years forwards from the events of “Dawn” and society as we know it has crumbled away still further: even the “Holidays are Coming” Coke lorry is no longer in service, so things MUST be bad! We begin the film with the apes having a nice ‘Centre Parcs’ break when their reverie and cappuccinos are rudely interrupted by the attacking forces of “The Colonel” (Woody Harrelson, “Triple 9“, “Zombieland”). For The Colonel is intent on tracking down and killing ape-leader Caesar (Andy Serkis, “LOTR”).
After things get decidedly personal, Caesar leaves his young son Cornelius (in a nice nod to the Roddy McDowell role in the original films) to find and kill The Colonel. So follows a “True Grit” style pursuit/revenge chase, made more similar to this analogy by the picking up of a waif-like mute girl (the excellent Amiah Miller). I found this to be a really emotional plot line, with Caesar torn between the animal drive of his revenge and his role as a leader to his whole community.
The film analogies continue as we take in a “Shining”-style winter hotel; a gritty Prisoner-of-War camp escape drama (“The Great Esc-ape”?); a barricades battle in the style of Helm’s Deep in “LOTR: The Two Towers”; and a full-on Coppola-style helicopter-based war sequence (“Ape-ocalypse now”, as graffiti in the film declares).
Once again, the mo-cap ability to express true emotions on the faces of the apes is mind-blowing, with Serkis again being outstanding as is Steve Zahn (“Dallas Buyer’s Club“) adding some (very funny) comic relief as “Bad Ape”.
While Woody Harrelson is not everyone’s cup of tea (including mine), here I found him to be actually very good (“SO EMOTIONAL”!) as the half crazed dictator forcing beings he sees as less worthy than his kind to build a wall. (That’s just SO familiar… think dammit… think….!). There’s a really cool plot twist in The Colonel’s character arc that I really didn’t see coming. Just so cool.
Another star of the film for me was Michael Giacchino’s music which is simply awesome. Starting with a superbly retro rendition of the 20th Century Fox theme (not top of my list: “The Simpson’s Movie” still holds that spot for me!) Giacchino decorates every scene with great themes and like all great film music some of it you barely notice. A dramatic telling by the Colonel of his back-story is accompanied by sonorous music that is similar in its power to James Horner’s classic “Electronic Battlefield” in “Patriot Games”: only when the scene finishes and the music stops do you appreciate how central it was to the emotion of the scene. (As I sat through all of the end-titles for the music I can also confirm that – despite all the odds – there is no “monkey” at the end!)
The script by “Dawn” collaborators Mark Bomback and (director) Matt Reeves is eventful and packs a dramatic punch particularly in the last half of the film. The talented Mr Reeves (who also directed “Cloverfield” and “Let Me In” and is in assigned to the next Ben Affleck outing as “The Batman”) directs with panache, never letting the foot come off the tension pedal.
On the downside, that “last half of the film” is still 70 minutes away, and whilst I appreciate a leisurely pace for properly setting characters and motivations in place, getting to those simply brilliant scenes set at “the border” is a bit of a slog that might have been tightened up and moved along a bit quicker. Also, while talking about editing, I would have personally ended the film about 90 seconds before they did.
I saw this in 3D, but the effects are subtle at best (although there is a nice binocular rangefinder view). In my opinion it’s not worth going out of your way to experience in 3D.
But overall I loved this movie. The film is chock full of visual delights for film lovers (one of my favourites being “Bedtime for Bonzo” – a nice historical film reference – written on the back of a soldier’s helmet). It’s an epic action film with a strong emotional core to the story that genuinely moved me. There may be other spin-off Planet of the Apes films to follow. But if they left this here, as a near-perfect trilogy, that would be absolutely fine by me.
We have moved a number of years forwards from the events of “Dawn” and society as we know it has crumbled away still further: even the “Holidays are Coming” Coke lorry is no longer in service, so things MUST be bad! We begin the film with the apes having a nice ‘Centre Parcs’ break when their reverie and cappuccinos are rudely interrupted by the attacking forces of “The Colonel” (Woody Harrelson, “Triple 9“, “Zombieland”). For The Colonel is intent on tracking down and killing ape-leader Caesar (Andy Serkis, “LOTR”).
After things get decidedly personal, Caesar leaves his young son Cornelius (in a nice nod to the Roddy McDowell role in the original films) to find and kill The Colonel. So follows a “True Grit” style pursuit/revenge chase, made more similar to this analogy by the picking up of a waif-like mute girl (the excellent Amiah Miller). I found this to be a really emotional plot line, with Caesar torn between the animal drive of his revenge and his role as a leader to his whole community.
The film analogies continue as we take in a “Shining”-style winter hotel; a gritty Prisoner-of-War camp escape drama (“The Great Esc-ape”?); a barricades battle in the style of Helm’s Deep in “LOTR: The Two Towers”; and a full-on Coppola-style helicopter-based war sequence (“Ape-ocalypse now”, as graffiti in the film declares).
Once again, the mo-cap ability to express true emotions on the faces of the apes is mind-blowing, with Serkis again being outstanding as is Steve Zahn (“Dallas Buyer’s Club“) adding some (very funny) comic relief as “Bad Ape”.
While Woody Harrelson is not everyone’s cup of tea (including mine), here I found him to be actually very good (“SO EMOTIONAL”!) as the half crazed dictator forcing beings he sees as less worthy than his kind to build a wall. (That’s just SO familiar… think dammit… think….!). There’s a really cool plot twist in The Colonel’s character arc that I really didn’t see coming. Just so cool.
Another star of the film for me was Michael Giacchino’s music which is simply awesome. Starting with a superbly retro rendition of the 20th Century Fox theme (not top of my list: “The Simpson’s Movie” still holds that spot for me!) Giacchino decorates every scene with great themes and like all great film music some of it you barely notice. A dramatic telling by the Colonel of his back-story is accompanied by sonorous music that is similar in its power to James Horner’s classic “Electronic Battlefield” in “Patriot Games”: only when the scene finishes and the music stops do you appreciate how central it was to the emotion of the scene. (As I sat through all of the end-titles for the music I can also confirm that – despite all the odds – there is no “monkey” at the end!)
The script by “Dawn” collaborators Mark Bomback and (director) Matt Reeves is eventful and packs a dramatic punch particularly in the last half of the film. The talented Mr Reeves (who also directed “Cloverfield” and “Let Me In” and is in assigned to the next Ben Affleck outing as “The Batman”) directs with panache, never letting the foot come off the tension pedal.
On the downside, that “last half of the film” is still 70 minutes away, and whilst I appreciate a leisurely pace for properly setting characters and motivations in place, getting to those simply brilliant scenes set at “the border” is a bit of a slog that might have been tightened up and moved along a bit quicker. Also, while talking about editing, I would have personally ended the film about 90 seconds before they did.
I saw this in 3D, but the effects are subtle at best (although there is a nice binocular rangefinder view). In my opinion it’s not worth going out of your way to experience in 3D.
But overall I loved this movie. The film is chock full of visual delights for film lovers (one of my favourites being “Bedtime for Bonzo” – a nice historical film reference – written on the back of a soldier’s helmet). It’s an epic action film with a strong emotional core to the story that genuinely moved me. There may be other spin-off Planet of the Apes films to follow. But if they left this here, as a near-perfect trilogy, that would be absolutely fine by me.
Phillip McSween (751 KP) rated Toy Story 4 (2019) in Movies
Jul 29, 2019
About Life and Letting Go...
In yet another crazy adventure, Toy Story 4 sees Woody and the gang protecting Forky, Bonnie’s new toy she created from a spork in Kindergarten class.
Acting: 10
I mentioned this in my review of Toy Story 3, but it bears repeating: the ability to bring back the same cast from one movie to the next guarantees stellar voice-acting performances. Tom Hanks and Tim Allen have perfected their roles as Woody and Buzz and their performances take you out of the realm of thinking these are mere toys, but actual sentient beings. Beyond these two and the rest of the traditional gang you have rib-splitting performances from Keegan-Michael Key and Jordan Peele as Bunny and Ducky along with more hilarity from Keanu Reeves playing Duke Caboom, a stunt toy. Their ability to make their characters as endearing as they are funny makes the viewing experience that much more enjoyable.
Beginning: 10
Characters: 10
To expand on the above, it’s not just about the characters but how they develop as the story progresses. These are animated movies meant for kids yet these characters manage to grow as they would in a typical (great) movie. Characters like Woody are faced with difficult choices they have to make and I found myself wondering if they would have made those same choice two or three movies ago.
On another note, I appreciate that the movies have grown since the first in the way of their villains. It’s always refreshing when villains aren’t just innately bad and they have a backstory of some sort. Gabby Gabby, the babydoll with a broken voicebox, is no exception here.
Cinematography/Visuals: 10
Conflict: 10
Like its predecessors, Toy Story 4 is meant to take you on an adventure and it doesn’t disappoint. Continuing from a similar motif of the third movie, the gang is involved in a heist that includes great stakes. From the planning to the execution of it all, it’s nonstop great fun.
Entertainment Value: 10
Some of the most fun I’ve had in the theater in 2019. This movie has everything you want. There’s action, laughter, and yes maybe a tear or two. This movie doesn’t disappoint in the slightest.
Memorability: 8
From the beautiful visuals (seriously, it’s not even fair at this point) to a number of hilarious and touching moments, this one is absolutely one to remember. In a message that spoke to me directly, it’s all about being willing to let go and start new chapters of your life, getting out of your comfort zone and starting fresh. I dig it.
Pace: 10
For the most part, things are smooth sailing here as this film very rarely gets boring. There is a minor blip where I felt like they could have sped things along a little quicker, but big emphasis on “minor”. I was invested the whole way.
Plot: 10
Yet another great story that’s believable and doesn’t harbor any major holes. Seriously, how do they keep doing this? How do they keep creating brand new experiences that are vastly different from the last? Beyond impressed.
Resolution: 10
Overall: 98
This series truly answers the question: How long should a movie series go before you call it quits? The answer: As long as you have a good story, tell it! What was once one of the greatest trilogies of all time is now one of the greatest quadrilogies of all time. Toy Story 4 is a masterpiece.
Acting: 10
I mentioned this in my review of Toy Story 3, but it bears repeating: the ability to bring back the same cast from one movie to the next guarantees stellar voice-acting performances. Tom Hanks and Tim Allen have perfected their roles as Woody and Buzz and their performances take you out of the realm of thinking these are mere toys, but actual sentient beings. Beyond these two and the rest of the traditional gang you have rib-splitting performances from Keegan-Michael Key and Jordan Peele as Bunny and Ducky along with more hilarity from Keanu Reeves playing Duke Caboom, a stunt toy. Their ability to make their characters as endearing as they are funny makes the viewing experience that much more enjoyable.
Beginning: 10
Characters: 10
To expand on the above, it’s not just about the characters but how they develop as the story progresses. These are animated movies meant for kids yet these characters manage to grow as they would in a typical (great) movie. Characters like Woody are faced with difficult choices they have to make and I found myself wondering if they would have made those same choice two or three movies ago.
On another note, I appreciate that the movies have grown since the first in the way of their villains. It’s always refreshing when villains aren’t just innately bad and they have a backstory of some sort. Gabby Gabby, the babydoll with a broken voicebox, is no exception here.
Cinematography/Visuals: 10
Conflict: 10
Like its predecessors, Toy Story 4 is meant to take you on an adventure and it doesn’t disappoint. Continuing from a similar motif of the third movie, the gang is involved in a heist that includes great stakes. From the planning to the execution of it all, it’s nonstop great fun.
Entertainment Value: 10
Some of the most fun I’ve had in the theater in 2019. This movie has everything you want. There’s action, laughter, and yes maybe a tear or two. This movie doesn’t disappoint in the slightest.
Memorability: 8
From the beautiful visuals (seriously, it’s not even fair at this point) to a number of hilarious and touching moments, this one is absolutely one to remember. In a message that spoke to me directly, it’s all about being willing to let go and start new chapters of your life, getting out of your comfort zone and starting fresh. I dig it.
Pace: 10
For the most part, things are smooth sailing here as this film very rarely gets boring. There is a minor blip where I felt like they could have sped things along a little quicker, but big emphasis on “minor”. I was invested the whole way.
Plot: 10
Yet another great story that’s believable and doesn’t harbor any major holes. Seriously, how do they keep doing this? How do they keep creating brand new experiences that are vastly different from the last? Beyond impressed.
Resolution: 10
Overall: 98
This series truly answers the question: How long should a movie series go before you call it quits? The answer: As long as you have a good story, tell it! What was once one of the greatest trilogies of all time is now one of the greatest quadrilogies of all time. Toy Story 4 is a masterpiece.
Andy Meakin (5 KP) rated War for the Planet of the Apes (2017) in Movies
Jan 8, 2018
Apes...together...strong!
The recent revival of the Apes franchise has managed to defy all expectations by not only being a worthy entry into the franchise, but also being strong films on their own merit. Working as a kind-of-prequel-reboot of the old franchise, and ignoring the Tim Burton film completely, it is strange to realise this is only the third film since the reboot. Lesser franchises would have churned out one every year or two, and be up to part five by now, but not the Apes films. It genuinely feels like they are taking time to ensure each film is worthy. Which is where another expectation is defied – the films don’t seem to diminish in quality, nor feel repetitive. Each entry so far has had its own feel and worked to move the story along. War for the Planet of the Apes is no exception, and is one of the finest blockbuster films of this year.
It has been 15 years since the events of the first film, and the release of the Simian Flu virus that wiped out a large percentage of humanity. The events of the second film saw the start of conflict between the apes and humans, instigated by Koba who defied Caesar’s leadership. Now, humanity are hunting down the apes, with one Colonel (Woody Harrelson) in particular striving to wipe them out entirely. When that Colonel attacks Caesar’s tribe, killing those close to him, it sets the ape leader off on a personal revenge journey, with only a few of his most loyal followers supporting him on the way. However, along the way they encounter two new recruits, an ape hermit who has also developed speech, and a young human girl who is showing signs of a new strain of the Simian virus.
It is a testament to the motion captured performances and the quality of the CGI on offer that at no point during the film do you not believe that the apes on screen are real. There’s a line in the film where Harrelson’s Colonel comments on how human looking Caesar’s eyes are, and whilst you could see that in the context of the film series’ arc (apes are becoming the new rulers, usurping humanity, and so are becoming more human), you can also see it as a nod to how the ‘uncanny valley’ dead-eye stare that plagues CGI in film is entirely absent here. Indeed, given that every scene in this relatively moderate $150million budget film is an effect shot, as apes are present throughout, it is jaw dropping that it looks a far more polished film than, for example, the $265million budgeted Rogue One – a film which tried desperately with two key CGI characters and failed so hard in the brief screen time they had. Over all the Apes series has impressed with the effects work, but here it is pretty much flawless.
But it isn’t all about the effects. In fact the action-packed film the trailers seemed to hint at is instead a thoughtful, character-driven revenge journey, with only short bursts of action. This is Caesar’s dark-journey of the soul, the end result of his attempts to live a peaceful co-existence with a humanity that fears him and his kind. Many comparisons can be drawn to films such as Apocalypse Now (something the film is aware of and manages to drop a reference to as a result), where a troubled individual, tired of war, seeks a crazed Colonel who is amassing his own army for an unknown purpose. The two core leads in their respective roles give their all. Serkis acting to a high degree, and giving genuine life to Caesar, and Harrelson gone completely Brando in his part, menacing without being overbearing.
The journey itself is a compelling story, and the support characters, some who we already know (Maurice, Luca and Rocket) acting as the conscience and the advisers to the troubled Caesar. The new additions, Amiah Miller’s war orphan who Maurice adopts on their journey, and Bad Ape (Steve Zahn) offer heart and comic relief respectively. The comic timing is perfectly placed, never feeling forced, and being deftly used to offer a glimmer of hope and joy in what is otherwise a very dark tale.
The film, overall, nicely rounds out the trilogy, whilst still leaving room for future films down the line. Matt Reeves’ direction makes effective use of his cast and settings, whilst the score by Michael Giacchino has grown more ‘ape-inspired’ since he scored the previous film, reflecting in its drums and pipes the more primate nature manner the world is taking as technology and humanity dwindles.
“Apes together strong!” is Caesar’s mantra. Indeed, all three Apes films, when viewed together, can be seen as one impressive, strong story, with a genuine progression throughout. A third film in a franchise usually derails and loses the way. Not here as this is one of the finest examples of intelligent blockbuster that you will find.
It has been 15 years since the events of the first film, and the release of the Simian Flu virus that wiped out a large percentage of humanity. The events of the second film saw the start of conflict between the apes and humans, instigated by Koba who defied Caesar’s leadership. Now, humanity are hunting down the apes, with one Colonel (Woody Harrelson) in particular striving to wipe them out entirely. When that Colonel attacks Caesar’s tribe, killing those close to him, it sets the ape leader off on a personal revenge journey, with only a few of his most loyal followers supporting him on the way. However, along the way they encounter two new recruits, an ape hermit who has also developed speech, and a young human girl who is showing signs of a new strain of the Simian virus.
It is a testament to the motion captured performances and the quality of the CGI on offer that at no point during the film do you not believe that the apes on screen are real. There’s a line in the film where Harrelson’s Colonel comments on how human looking Caesar’s eyes are, and whilst you could see that in the context of the film series’ arc (apes are becoming the new rulers, usurping humanity, and so are becoming more human), you can also see it as a nod to how the ‘uncanny valley’ dead-eye stare that plagues CGI in film is entirely absent here. Indeed, given that every scene in this relatively moderate $150million budget film is an effect shot, as apes are present throughout, it is jaw dropping that it looks a far more polished film than, for example, the $265million budgeted Rogue One – a film which tried desperately with two key CGI characters and failed so hard in the brief screen time they had. Over all the Apes series has impressed with the effects work, but here it is pretty much flawless.
But it isn’t all about the effects. In fact the action-packed film the trailers seemed to hint at is instead a thoughtful, character-driven revenge journey, with only short bursts of action. This is Caesar’s dark-journey of the soul, the end result of his attempts to live a peaceful co-existence with a humanity that fears him and his kind. Many comparisons can be drawn to films such as Apocalypse Now (something the film is aware of and manages to drop a reference to as a result), where a troubled individual, tired of war, seeks a crazed Colonel who is amassing his own army for an unknown purpose. The two core leads in their respective roles give their all. Serkis acting to a high degree, and giving genuine life to Caesar, and Harrelson gone completely Brando in his part, menacing without being overbearing.
The journey itself is a compelling story, and the support characters, some who we already know (Maurice, Luca and Rocket) acting as the conscience and the advisers to the troubled Caesar. The new additions, Amiah Miller’s war orphan who Maurice adopts on their journey, and Bad Ape (Steve Zahn) offer heart and comic relief respectively. The comic timing is perfectly placed, never feeling forced, and being deftly used to offer a glimmer of hope and joy in what is otherwise a very dark tale.
The film, overall, nicely rounds out the trilogy, whilst still leaving room for future films down the line. Matt Reeves’ direction makes effective use of his cast and settings, whilst the score by Michael Giacchino has grown more ‘ape-inspired’ since he scored the previous film, reflecting in its drums and pipes the more primate nature manner the world is taking as technology and humanity dwindles.
“Apes together strong!” is Caesar’s mantra. Indeed, all three Apes films, when viewed together, can be seen as one impressive, strong story, with a genuine progression throughout. A third film in a franchise usually derails and loses the way. Not here as this is one of the finest examples of intelligent blockbuster that you will find.
Gareth von Kallenbach (965 KP) rated The Batman (2022) in Movies
Feb 28, 2022
In 1989 Michael Keaton was seen as a very controversial choice to wear the Cowl of Batman but soon proved his doubters wrong by turning “Batman” and its subsequent sequel “Batman Returns” into massive Box Office success before leaving the cape behind.
While four other actors have taken up the cinematic version of the character in the subsequent years, Keaton has remained for many the Gold Standard with Christian Bale likely being his biggest rival.
When Robert Pattinson was named as the new Batman, there was interest but concern as an actor who is largely known for playing Edward in the “Twilight” films seemed to be an odd choice. However, I would say that anyone who has seen some of his recent work including his performance in “The Lighthouse” would be playing him a disservice by saying he was not up to the part.
In “The Batman”, audiences are given a darker and more broken Bruce Wayne, an Emo recluse who is far from the Socialite he has been portrayed as for decades and a very sullen and withdrawn individual who does not exude charm or grace and even shows issues making eye-contact.
When the Mayor of Gotham is killed shortly before the election by a mysterious individual known as “The Riddler” (Paul Dano), the vigilante known as “The Batman” is called in to help the police by Lt. James Gordon (Jeffrey Wright). Gordon has been working with Batman for some time but it is clear that his association with him has not won him any favors with his fellow officers, many of which openly question his use and involvement in the crime scenes.
Further complicating matters are clues left at the various crime locales that are addressed to The Batman and cause many to believe that he may be working with the very killer they are attempting to stop.
As the investigation unfolds, the seedy side of Gotham City comes to light in the form of a missing girl who was photographed with the married Mayor and may well be the key to the investigation. Her disappearance leads her friend Selina Kyle (Zoe Kravitz), to take on her Catwoman persona and delve deep into an underworld that features deadly individuals ranging from Carmine Falcone (John Turturro), and The Penguin (Colin Farrell), amongst others as she and the Batman conduct their own investigations that at times overlap and further complicate matters.
As the body count rises and Batman races to find the true method behind the madness of The Riddler, the tone becomes darker and more sinister in a deadly race against time.
The film eschews the usual abundance of action sequences and glossy special effects which are common for Comic Book related films and instead gives audiences a slow-burning murder mystery that holds your attention from start to finish over its three-hour run time.
The dark and foreboding tone of the film is brought home by the haunting and sharp piano keys of the film’s theme that permeates the film and punches home that this is a film clearly aimed at a more adult audience.
Pattinson does a great job showing the deeply broken individual that is behind the mask and that Batman is the only form of escape or therapy that Bruce Wayne has due to his insistence on saving a city that many argue cannot be saved. He has strained his relationship at times with Alfred (Andy Serkis), caused damage to the financial stability and reputation of the family company in his quest for vengeance and justice, and has become a bitter and broken recluse in doing so. In many ways, it could be argued that his only socialization with others is as The Batman and his single-minded obsession is chilling to watch.
Pattinson also handles the action sequences well as the film spaces them out to put the emphasis more on the man than the gadgets as they are kept to a minimum even during a thrilling chase with the new version of The Batmobile.
The strong supporting cast works well with the film and Paul Dano gives a very compelling and disturbing version of his character which makes the film even darker and more engrossing.
Director Matt Reeves has crafted a dark and foreboding tone and visual style as a good portion of the film takes place in the darkness and his screenplay is not afraid to take chances by putting the emphasis on the characters and their flaws versus an abundance of action and effects.
I found this version of the character and interpretation more engrossing than prior versions of the film as the bold move to do a slow-burning and dark murder mystery versus an effect-laden action film reminded me of some of the better Batman stories such as Batman: The Killing Joke or Batman: The Long Halloween.
The film is not going to be for everyone, especially younger viewers and some may take issue with the casting choices, but their performances shine and as such, “The Batman” was a very engaging and unforgettable tale that for me serves as one of the best adaptations of the character ever.
4 stars out of 5
While four other actors have taken up the cinematic version of the character in the subsequent years, Keaton has remained for many the Gold Standard with Christian Bale likely being his biggest rival.
When Robert Pattinson was named as the new Batman, there was interest but concern as an actor who is largely known for playing Edward in the “Twilight” films seemed to be an odd choice. However, I would say that anyone who has seen some of his recent work including his performance in “The Lighthouse” would be playing him a disservice by saying he was not up to the part.
In “The Batman”, audiences are given a darker and more broken Bruce Wayne, an Emo recluse who is far from the Socialite he has been portrayed as for decades and a very sullen and withdrawn individual who does not exude charm or grace and even shows issues making eye-contact.
When the Mayor of Gotham is killed shortly before the election by a mysterious individual known as “The Riddler” (Paul Dano), the vigilante known as “The Batman” is called in to help the police by Lt. James Gordon (Jeffrey Wright). Gordon has been working with Batman for some time but it is clear that his association with him has not won him any favors with his fellow officers, many of which openly question his use and involvement in the crime scenes.
Further complicating matters are clues left at the various crime locales that are addressed to The Batman and cause many to believe that he may be working with the very killer they are attempting to stop.
As the investigation unfolds, the seedy side of Gotham City comes to light in the form of a missing girl who was photographed with the married Mayor and may well be the key to the investigation. Her disappearance leads her friend Selina Kyle (Zoe Kravitz), to take on her Catwoman persona and delve deep into an underworld that features deadly individuals ranging from Carmine Falcone (John Turturro), and The Penguin (Colin Farrell), amongst others as she and the Batman conduct their own investigations that at times overlap and further complicate matters.
As the body count rises and Batman races to find the true method behind the madness of The Riddler, the tone becomes darker and more sinister in a deadly race against time.
The film eschews the usual abundance of action sequences and glossy special effects which are common for Comic Book related films and instead gives audiences a slow-burning murder mystery that holds your attention from start to finish over its three-hour run time.
The dark and foreboding tone of the film is brought home by the haunting and sharp piano keys of the film’s theme that permeates the film and punches home that this is a film clearly aimed at a more adult audience.
Pattinson does a great job showing the deeply broken individual that is behind the mask and that Batman is the only form of escape or therapy that Bruce Wayne has due to his insistence on saving a city that many argue cannot be saved. He has strained his relationship at times with Alfred (Andy Serkis), caused damage to the financial stability and reputation of the family company in his quest for vengeance and justice, and has become a bitter and broken recluse in doing so. In many ways, it could be argued that his only socialization with others is as The Batman and his single-minded obsession is chilling to watch.
Pattinson also handles the action sequences well as the film spaces them out to put the emphasis more on the man than the gadgets as they are kept to a minimum even during a thrilling chase with the new version of The Batmobile.
The strong supporting cast works well with the film and Paul Dano gives a very compelling and disturbing version of his character which makes the film even darker and more engrossing.
Director Matt Reeves has crafted a dark and foreboding tone and visual style as a good portion of the film takes place in the darkness and his screenplay is not afraid to take chances by putting the emphasis on the characters and their flaws versus an abundance of action and effects.
I found this version of the character and interpretation more engrossing than prior versions of the film as the bold move to do a slow-burning and dark murder mystery versus an effect-laden action film reminded me of some of the better Batman stories such as Batman: The Killing Joke or Batman: The Long Halloween.
The film is not going to be for everyone, especially younger viewers and some may take issue with the casting choices, but their performances shine and as such, “The Batman” was a very engaging and unforgettable tale that for me serves as one of the best adaptations of the character ever.
4 stars out of 5