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Lesson Plan: An Agenda for Change in American Higher Education
William G. Bowen and Michael S. McPherson
Book
American higher education faces some serious problems--but they are not the ones most people think....
LeftSideCut (3778 KP) rated Pig (2021) in Movies
Nov 30, 2021
Nicolas Cage's placement within the zeitgeist is almost legendary at this point. His various unhinged performances over the decades have ensured that he's the go-to-guy for any movie with a whacky premise that needs a lead who will commit to the part, no matter how ludicrous. Pig is a film that has fallen a little foul of this. It's a film that had been mistakenly billed to me as "John Wick but with Nicolas Cage and a pig", a film that's very synopsis lends itself to the absurdity that surrounds Cage and his career.
The finished project however is an emotional and heartfelt triumph. For starters, the whole movie is shot beautifully with plenty of stunning cinematography on display. It verges into arthouse territory fairly regularly, but works hand in hand with the way the narrative chugs along, quite wonderfully.
The slower pace of proceedings is filled with great dialogue and great turns from the likes of Adam Arkin and the ever-reliable Alex Wolff, but make no mistake, Pig belongs to Cage 100%. His performance here is nothing short of fantastic. His character is layered, and aspects of him are slowly revealed as the story unfolds, and Cage delivers it all pretty flawlessly. No joke, probably his career highlight.
The tone is a rollercoaster, from optimism amongst sadness to flat out despair. The climactic scene in particular is an absolutly beautiful and emotional shit show, that lands perfectly thanks to its stellar cast.
Pig is a movie that I didn't expect to get me as much as it did. It's an incredibly competent, subtle, and well realised debut full-length feature from Michael Sarnoski, that I imagine will be criminally overlooked when awards season rolls around. Give Nicolas Cage an Oscar dammit!
The finished project however is an emotional and heartfelt triumph. For starters, the whole movie is shot beautifully with plenty of stunning cinematography on display. It verges into arthouse territory fairly regularly, but works hand in hand with the way the narrative chugs along, quite wonderfully.
The slower pace of proceedings is filled with great dialogue and great turns from the likes of Adam Arkin and the ever-reliable Alex Wolff, but make no mistake, Pig belongs to Cage 100%. His performance here is nothing short of fantastic. His character is layered, and aspects of him are slowly revealed as the story unfolds, and Cage delivers it all pretty flawlessly. No joke, probably his career highlight.
The tone is a rollercoaster, from optimism amongst sadness to flat out despair. The climactic scene in particular is an absolutly beautiful and emotional shit show, that lands perfectly thanks to its stellar cast.
Pig is a movie that I didn't expect to get me as much as it did. It's an incredibly competent, subtle, and well realised debut full-length feature from Michael Sarnoski, that I imagine will be criminally overlooked when awards season rolls around. Give Nicolas Cage an Oscar dammit!
Movie Metropolis (309 KP) rated Transformers: Dark of the Moon (2011) in Movies
Jun 11, 2019
Michael Bay had a lot to prove with the third instalment of his big bot franchise. The scathing reviews of Revenge of the Fallen from nearly every critic who went to see it proved that even giant robots aren’t safe from the picky eyes of the global audience. Now, I may get lambasted for this but I preferred number 2 to number 1, so let’s see if number 3 can impress.
Here, Bay returns to helm the latest addition: Dark of the Moon, it’s a good film nonetheless but it’s sci-fi themes, more so than in either of the previous offerings fail to provide enough impact to make it the best in the series.
Transformers: Dark of the Moon picks up three years after the last film and a lot has changed. Sam Witwicky again played by the fantastic Shia LeBeouf is now living in Washington, envious of his new girlfriend Carly Spencer and her fabulous lifestyle. Carly, played by newcomer Rosie Huntington-Whitely is about as wooden as a character can get; Whitely’s performance is very laboured and her on screen scenes suffer as a result; she’s a disappointment in a film that doesn’t really require it’s characters to do much; so that shows how bad she actually is.
Megan Fox is actually missed this time around, but it’s not too much of a problem because Rosie’s character is given exactly the same clothes, the same pout and practically the same lines.
Michael Bay has also lined up the legendary John Malkovich as Sam’s troubled new boss, his screen time is worth a watch but he feels wasted considering his lines amount to about 10 minutes of screen time. Patrick Dempsey also stars as good guy gone back; Dylan Gould.
The special effects coupled with the fantastic 3D make Transformers 3 a spectacle to watch, the bots are seamlessly integrated into the picture alongside their human counterparts and deliver once again, these films really are the pinnacle now for special effects.
Bay has managed to fashion a half coherent story out of the toy franchise which many critics were sceptical of, but it works really well. The film focuses on the space race of the 60’s and the reasons why the US wanted to beat everyone to the moon. In short, the Decepticons are looking for something that crash-landed on the moon; if they find it, then Cybertron will be reborn, using Earth as a template; oh no!
The last hour is just carnage, carnage, carnage as the entire city of Chicago is plunged into a post-apocalyptic world where the Decepticons rule and the Autobots are, alongside humans as slaves. Here, Bay really showcases his prowess for stunning cinematography and first class special effects, one scene in particular, involving a glass skyscraper is particularly awe-inspiring.
Speaking of the robots themselves, all the favourites return with their fantastic voice acting. Peter Cullen delivers Optimus Prime in his usual, gruff manner and a welcome addition is Star Trek’s Leonard Nimoy as veteran Autobot leader Sentinel Prime. Hugo Weaving also returns as a rough looking Megatron.
The problem that blights Transformers 3 is that there’s too much going on. I found myself lost in parts of the story because the film is constantly rushing to get to the next plot line. It’s frustrating that a film franchise criticised for its lack of story is penalised for having too much of one this time around, but this is the case here. As such, some of the best characters don’t get screen time. Josh Duhamel is only in the film for 5 minutes at a time, whilst Sam’s parents only get brief appearances which is a tragic shame as they are, all in all, the best human characters in the franchise.
Overall, Transformers has become one of my favourite film franchises of all time; it delivers on its promise and doesn’t pretend it’s going to be something else. Yes, they’re far too long (this one is just short of 3 hours), they’re exceptionally loud and mind-numbingly obnoxious but that’s what you should want from an action film. Transformers 3 delivers, and it delivers it like a smack in the face; but it falls down in a couple of areas where the others didn’t.
Michael Bay is a very talented film director who gives the best out of everything, but in response to his critics from the last movie, he has developed too much of the story and as such, it feels disjointed and ultimately a little disappointing.
https://moviemetropolis.net/2011/07/07/transformers-dark-of-the-moon-2011/
Here, Bay returns to helm the latest addition: Dark of the Moon, it’s a good film nonetheless but it’s sci-fi themes, more so than in either of the previous offerings fail to provide enough impact to make it the best in the series.
Transformers: Dark of the Moon picks up three years after the last film and a lot has changed. Sam Witwicky again played by the fantastic Shia LeBeouf is now living in Washington, envious of his new girlfriend Carly Spencer and her fabulous lifestyle. Carly, played by newcomer Rosie Huntington-Whitely is about as wooden as a character can get; Whitely’s performance is very laboured and her on screen scenes suffer as a result; she’s a disappointment in a film that doesn’t really require it’s characters to do much; so that shows how bad she actually is.
Megan Fox is actually missed this time around, but it’s not too much of a problem because Rosie’s character is given exactly the same clothes, the same pout and practically the same lines.
Michael Bay has also lined up the legendary John Malkovich as Sam’s troubled new boss, his screen time is worth a watch but he feels wasted considering his lines amount to about 10 minutes of screen time. Patrick Dempsey also stars as good guy gone back; Dylan Gould.
The special effects coupled with the fantastic 3D make Transformers 3 a spectacle to watch, the bots are seamlessly integrated into the picture alongside their human counterparts and deliver once again, these films really are the pinnacle now for special effects.
Bay has managed to fashion a half coherent story out of the toy franchise which many critics were sceptical of, but it works really well. The film focuses on the space race of the 60’s and the reasons why the US wanted to beat everyone to the moon. In short, the Decepticons are looking for something that crash-landed on the moon; if they find it, then Cybertron will be reborn, using Earth as a template; oh no!
The last hour is just carnage, carnage, carnage as the entire city of Chicago is plunged into a post-apocalyptic world where the Decepticons rule and the Autobots are, alongside humans as slaves. Here, Bay really showcases his prowess for stunning cinematography and first class special effects, one scene in particular, involving a glass skyscraper is particularly awe-inspiring.
Speaking of the robots themselves, all the favourites return with their fantastic voice acting. Peter Cullen delivers Optimus Prime in his usual, gruff manner and a welcome addition is Star Trek’s Leonard Nimoy as veteran Autobot leader Sentinel Prime. Hugo Weaving also returns as a rough looking Megatron.
The problem that blights Transformers 3 is that there’s too much going on. I found myself lost in parts of the story because the film is constantly rushing to get to the next plot line. It’s frustrating that a film franchise criticised for its lack of story is penalised for having too much of one this time around, but this is the case here. As such, some of the best characters don’t get screen time. Josh Duhamel is only in the film for 5 minutes at a time, whilst Sam’s parents only get brief appearances which is a tragic shame as they are, all in all, the best human characters in the franchise.
Overall, Transformers has become one of my favourite film franchises of all time; it delivers on its promise and doesn’t pretend it’s going to be something else. Yes, they’re far too long (this one is just short of 3 hours), they’re exceptionally loud and mind-numbingly obnoxious but that’s what you should want from an action film. Transformers 3 delivers, and it delivers it like a smack in the face; but it falls down in a couple of areas where the others didn’t.
Michael Bay is a very talented film director who gives the best out of everything, but in response to his critics from the last movie, he has developed too much of the story and as such, it feels disjointed and ultimately a little disappointing.
https://moviemetropolis.net/2011/07/07/transformers-dark-of-the-moon-2011/
JT (287 KP) rated Vehicle 19 (2013) in Movies
Mar 10, 2020
Paul Walker can’t seem to stay away from cars at the moment, in between Fast Five and the recently released Fast and Furious 6 Walker took the lead in Vehicle 19.
Walker plays Michael Woods whose recently jumped parole and heads out to South Africa to see his girlfriend, in the hope of rekindling their relationship. Picking up a rental car, a minivan, which is hardly fast or furious, it turns out to be the wrong choice as during his journey he’s chased down by the local police for the murder of a young woman.
The film for the majority of its entirety is shot from the inside of the car, with Walker rarely stepping out of the driver’s seat as he tries to navigate his way through a city he is totally unfamiliar with. Films that capture one location need to rely on a number of things, firstly the acting has got to be top draw and secondly you’ve got to pull out the tension and hook the audience.
Phone Booth and Buried which placed its protagonists in a confined space paid off pretty well, but here Vehicle 19 struggles and almost splutters as if gasping for more fuel. The problem is the despite Walker putting in a decent performance as a man with a goal who is pushed to the edge it lacks any real bite or conviction.
For the opening twenty minutes we see him converse with his girlfriend via phone, complain he’s got the wrong rental car and try to remember which side of the road he has to drive on. It’s dull, and when you compare it with Ryan Reynolds’s opening twenty minutes in Buried where he’s confined to a 6 foot box, Vehicle 19 is way off the mark.
Relative unknown director Mukunda Michael Dewil leaves it too late, and when Woods discovers a phone and gun in the glove box as well as a bound and gagged girl in the trunk many of us have already turned the ignition off. Woods is hunted by Detective Smith, a man with a terrifying accent that leaves genuine chills down your spine, for someone who only gets a minimal amount of screen time at the end he does leave a lasting impression.
It does have its rare moments and of course Walker gets to use his driving skills to full capacity as he’s perused through the townships and city streets by police cars that you’d expect would be able to catch up with a minivan.
It’s short but not so sharp, the surrounding locations begged for so much more than what was delivered. I’d much rather have seen Walker behind the wheel of a high performance vehicle…oh wait I can!
Walker plays Michael Woods whose recently jumped parole and heads out to South Africa to see his girlfriend, in the hope of rekindling their relationship. Picking up a rental car, a minivan, which is hardly fast or furious, it turns out to be the wrong choice as during his journey he’s chased down by the local police for the murder of a young woman.
The film for the majority of its entirety is shot from the inside of the car, with Walker rarely stepping out of the driver’s seat as he tries to navigate his way through a city he is totally unfamiliar with. Films that capture one location need to rely on a number of things, firstly the acting has got to be top draw and secondly you’ve got to pull out the tension and hook the audience.
Phone Booth and Buried which placed its protagonists in a confined space paid off pretty well, but here Vehicle 19 struggles and almost splutters as if gasping for more fuel. The problem is the despite Walker putting in a decent performance as a man with a goal who is pushed to the edge it lacks any real bite or conviction.
For the opening twenty minutes we see him converse with his girlfriend via phone, complain he’s got the wrong rental car and try to remember which side of the road he has to drive on. It’s dull, and when you compare it with Ryan Reynolds’s opening twenty minutes in Buried where he’s confined to a 6 foot box, Vehicle 19 is way off the mark.
Relative unknown director Mukunda Michael Dewil leaves it too late, and when Woods discovers a phone and gun in the glove box as well as a bound and gagged girl in the trunk many of us have already turned the ignition off. Woods is hunted by Detective Smith, a man with a terrifying accent that leaves genuine chills down your spine, for someone who only gets a minimal amount of screen time at the end he does leave a lasting impression.
It does have its rare moments and of course Walker gets to use his driving skills to full capacity as he’s perused through the townships and city streets by police cars that you’d expect would be able to catch up with a minivan.
It’s short but not so sharp, the surrounding locations begged for so much more than what was delivered. I’d much rather have seen Walker behind the wheel of a high performance vehicle…oh wait I can!
Movie Metropolis (309 KP) rated Fantastic Four (2015) in Movies
Jun 11, 2019
An absolute snooze
Here comes yet another superhero film. Ending Marvel’s year that has included the charming Big Hero 6, the overstuffed Avengers: Age of Ultron and the surprisingly excellent Ant-Man, the Fox produced Fantastic Four reboot has a tough job trying to get audiences to forget the horror that came before it.
It’s been a tough ride for the quartet of heroes, but does director Josh Trank’s modern day reimagining of Marvel’s first team do enough to change perceptions?
Not by a long shot. Despite some excellent special effects, this yawnfest of a film that was plagued by rumours of constant behind-the-scenes tension and last-minute editing doesn’t have an ounce of originality in its short 100 minute running time.
Miles Teller (Insurgent), Kate Mara (Transcendence), Michael B. Jordan (Chronicle) and Jamie Bell (Billy Elliot) take on the roles of Reed Richards, Sue Storm, Johnny Storm and Ben Grimm respectively and are fine, if lacking in any real chemistry.
Fantastic Four is above all, an origins story as the four young adults try to crack interdimensional travel. Naturally, things don’t go quite to plan and they, alongside fellow colleague Victor Von Doom end up with an unusual set of powers – with Doom becoming the main antagonist.
Unfortunately, the plot, devised by no less than three writers is a complete bore. There is hardly anything of interest throughout the entire film as Trank pushes his cast from one underwhelming set piece to another.
When things do get tense, it’s only for a five minute scene involving Doom breaking out of a research facility. This is when we get to see what Fantastic Four could’ve been, a dark and brooding film with a disturbing villain at its core.
However, it seems this has been pushed back to make way for an unusually flat sense of humour and an uninteresting origins story. Marvel films live and die on their comedic elements and unfortunately Fantastic Four is as poor as they come.
Nevertheless, the film’s special effects are on the whole, very good. The other dimension looks fantastic and The Thing in particular is rendered using excellent motion capture animation.
An underwhelming climax wraps up a bitterly disappointing outing for the four heroes. Most superhero films end with a spectacular showdown of good versus evil but Fantastic Four has none of this. The ending is clichéd, short and has no real payoff.
Overall, expectations were already low for this reboot and despite director Josh Trank’s obvious talent for direction, this talent is nowhere to be found in Fantastic Four.
A cast that doesn’t gel together, a poor soundtrack and a lack of tonal balance ensures it will rest alongside X-Men Origins: Wolverine as proof that Marvel Studios needs the rights to all of its heroes returning to it.
https://moviemetropolis.net/2015/08/09/an-absolute-snooze-fantastic-four-review/
It’s been a tough ride for the quartet of heroes, but does director Josh Trank’s modern day reimagining of Marvel’s first team do enough to change perceptions?
Not by a long shot. Despite some excellent special effects, this yawnfest of a film that was plagued by rumours of constant behind-the-scenes tension and last-minute editing doesn’t have an ounce of originality in its short 100 minute running time.
Miles Teller (Insurgent), Kate Mara (Transcendence), Michael B. Jordan (Chronicle) and Jamie Bell (Billy Elliot) take on the roles of Reed Richards, Sue Storm, Johnny Storm and Ben Grimm respectively and are fine, if lacking in any real chemistry.
Fantastic Four is above all, an origins story as the four young adults try to crack interdimensional travel. Naturally, things don’t go quite to plan and they, alongside fellow colleague Victor Von Doom end up with an unusual set of powers – with Doom becoming the main antagonist.
Unfortunately, the plot, devised by no less than three writers is a complete bore. There is hardly anything of interest throughout the entire film as Trank pushes his cast from one underwhelming set piece to another.
When things do get tense, it’s only for a five minute scene involving Doom breaking out of a research facility. This is when we get to see what Fantastic Four could’ve been, a dark and brooding film with a disturbing villain at its core.
However, it seems this has been pushed back to make way for an unusually flat sense of humour and an uninteresting origins story. Marvel films live and die on their comedic elements and unfortunately Fantastic Four is as poor as they come.
Nevertheless, the film’s special effects are on the whole, very good. The other dimension looks fantastic and The Thing in particular is rendered using excellent motion capture animation.
An underwhelming climax wraps up a bitterly disappointing outing for the four heroes. Most superhero films end with a spectacular showdown of good versus evil but Fantastic Four has none of this. The ending is clichéd, short and has no real payoff.
Overall, expectations were already low for this reboot and despite director Josh Trank’s obvious talent for direction, this talent is nowhere to be found in Fantastic Four.
A cast that doesn’t gel together, a poor soundtrack and a lack of tonal balance ensures it will rest alongside X-Men Origins: Wolverine as proof that Marvel Studios needs the rights to all of its heroes returning to it.
https://moviemetropolis.net/2015/08/09/an-absolute-snooze-fantastic-four-review/
Sarah (7798 KP) rated Dolittle (2020) in Movies
Feb 26, 2020 (Updated Feb 26, 2020)
Perfect... for kids
The trailer for this didn't fill me with much confidence, and I was even more concerned after hearing about the troubles even getting it to the screen, and I'm afraid to say it lived up to my rather low expectations.
Right from the opening scene, its obvious this film has been made solely for children. The plot is basic and predictable and a lot of the action and gags are very childish and puerile. Even Emma Thompson's narration made me feel like I was watching a kids educational show. I appreciate it's difficult to make a film suitable for kids and adults alike, but Disney and Pixar have proved it's possible without being infantile - sadly Dolittle doesn't. There are a few moments that I did have a small giggle at, but most of the gags I found either too obvious or childish to be funny. Weirdly enough I found Kevin the squirrel and his logs hilarious.
The cast themselves I found underused, or rather odd choices - some of the voice actors of the animals to me seemed a little out of place. That probably wasn't helped by how distractingly odd the animals looked when they were talking, and with the CGI ranging from pretty good to decidedly dodgy. Antonio Banderas was wasted as King Rassouli and Michael Sheen was hamming it up to the extremes, but it's Robert Downey Jnr that deserves a notable mention... for how terrible his accent is. I love RDJ, but his Welsh accent ranges from ok to downright horrendous. I couldn't even tell from the trailer what sort of accent he was doing it was that bad. And the problem with this is the accent took away all of the fun and charisma you'd expect from his performance.
The one benefit of this film is that it's fairly short, so it doesnt drag too much. Your kids will love it, but as an adult I wouldn't expect much.
Right from the opening scene, its obvious this film has been made solely for children. The plot is basic and predictable and a lot of the action and gags are very childish and puerile. Even Emma Thompson's narration made me feel like I was watching a kids educational show. I appreciate it's difficult to make a film suitable for kids and adults alike, but Disney and Pixar have proved it's possible without being infantile - sadly Dolittle doesn't. There are a few moments that I did have a small giggle at, but most of the gags I found either too obvious or childish to be funny. Weirdly enough I found Kevin the squirrel and his logs hilarious.
The cast themselves I found underused, or rather odd choices - some of the voice actors of the animals to me seemed a little out of place. That probably wasn't helped by how distractingly odd the animals looked when they were talking, and with the CGI ranging from pretty good to decidedly dodgy. Antonio Banderas was wasted as King Rassouli and Michael Sheen was hamming it up to the extremes, but it's Robert Downey Jnr that deserves a notable mention... for how terrible his accent is. I love RDJ, but his Welsh accent ranges from ok to downright horrendous. I couldn't even tell from the trailer what sort of accent he was doing it was that bad. And the problem with this is the accent took away all of the fun and charisma you'd expect from his performance.
The one benefit of this film is that it's fairly short, so it doesnt drag too much. Your kids will love it, but as an adult I wouldn't expect much.
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