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Emma @ The Movies (1786 KP) rated X-Men: Dark Phoenix (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
This was another screening that needed a second viewing because of challenging people, so now I've seen it in 2D and 3D. I'm seeing more films in 3D recently that actually work, I'm still not quite convinced by it but I'm certainly not annoyed by it.
The pre-"hype" for this was very mixed. I had been looking forward to the film for a long time but when the first trailer dropped I was disappointed and underwhelmed, it was however nice to see that others were having the opposite reaction to me. Perhaps I had just built it up too much in my head beforehand.
As we eeked closer the vibe became decidedly negative around it, and for the most part I avoided articles and rants as I just don't see the point in speculating so wildly about something that hasn't been seen. That climaxed again when the preview screening was interrupted by a fire alarm, and then when the internet seemed to go nuts over the fact the review embargo was so late. (It's not like embargos are unusual, I don't see how you can draw conclusions from release and embargo being on the same day... this seems entirely logical. *deep breath*)
Something I would like to query is the fact that someone decided it was sensible to put a reaction video of three of the stars seeing the Dark Phoenix trailer in 4DX. It's a little bit of fun, but frustrating if you've been trying to avoid trailers and spoilers before seeing the film.
Wow... waffle... to the film!
The team take on a mission to space when a shuttle loses control and is in the path of what appears to be solar flares. The mission seems successful until they realise there's still a crew member trapped. With the shuttle disintegrating the only ones who can safely make it are Jean and Nightcrawler. As Jean holds the shuttle in place Nightcrawler rescues the last man from the wreckage but when he returns for her she's already encountered the strange space energy.
Somehow despite the destruction of the shuttle Jean survives floating in space, Nightcrawler brings her back to the X-Jet and the whole team return to Earth as heroes. Jean wasn't left unchanged by her encounter though, she's changing, and as her mind begins to open the danger starts to grow.
Almost all of the characters in Dark Phoenix go through some sort of change. Jean comes face to face with her past and a power that is even more difficult to control than her own. Professor Xavier is less of a friend in his current persona than he's ever been before, and in this moment may not be the leader the X-Men need. Certainly by the end of the film each character has grown in some way. I'm not sure I was a fan of the changes in Professor Xavier, they were necessary in some respects but in the context of the rest of the series are a bit of a shock and out of the blue.
Thankfully some things don't change, and Quicksilver is still very funny, the occasional laugh was needed in what was quite a serious film.
Very briefly I want to talk about the effects. There's obviously a lot of them but I didn't spot anything that was outright terrible. (There's one moment in Cerebro, but that's more to do with how they choose to depict Cerebral's general imagery than anything.) My real standout moment is Jean's hair when she is embracing Dark Phoenix. We are given the floating underwater swirling effect that we should have seen in Aquaman.
It's been a while since I've seen all of the other films, although I did rewatch Last Stand and Apocalypse in the run up to this. There were a few moments where I saw flashes of Last Stand in Dark Phoenix which I thought was a nice touch.
I'm not sure there's a lot of point dwelling much on the acting for the main cast, it's consistent and what you'd expect for the franchise. Nicholas Hoult was able to bring a slightly bigger performance and he's probably one of the only regulars that had the ability to do that with his story.
Our villains were led by Jessica Chastain as Vuk. Vuk as a character and most of her group in general are actually quite bland. As emotionless aliens there's little to either love or hate. Had they been slightly more human than drone-like then they might have had a bigger impact. The only moment where I saw some good acting was when Vuk is with Jean near the very end and a look comes across her face and I thought, "oooh, acting!"
I wasn't entirely sure what was happening with Raven. She seemed to be a bundle of contradictions and got a terrible hand when it came to the script. I did want to slap her at one point, there was no need for what she did! NO NEED!
[Random thought: If Raven's scales/skin ripples when she transforms then how does she manage to do that when she's wearing an X-Suit? And also, why does she bother changing to her human look when she's in the mansion?]
The actions sequences were very good, the train scene felt like it had been crafted perfectly. Possibly a little too organised, but overall the entire scene came together. I particularly liked the choice of music when it coincided with Storm's piece, wonderfully atmospheric. (A pun? Perhaps.)
If there's anything I've taken from this it's that Dark Phoenix annoyed me less than Endgame did. It's not epic, but then I've never felt like the franchise has ever been that high on the scale. I'm reasonably happy with where it's left the sequence and what the future of the franchise might hold. I honestly don't think it deserves the hate that it's been getting.
What you should do
I think that you should go and see it, the action is good and a nice diversion for a couple of hours.
Movie thing you wish you could take home
I'd always want a superpower, but my choice changes more than Raven does.
The pre-"hype" for this was very mixed. I had been looking forward to the film for a long time but when the first trailer dropped I was disappointed and underwhelmed, it was however nice to see that others were having the opposite reaction to me. Perhaps I had just built it up too much in my head beforehand.
As we eeked closer the vibe became decidedly negative around it, and for the most part I avoided articles and rants as I just don't see the point in speculating so wildly about something that hasn't been seen. That climaxed again when the preview screening was interrupted by a fire alarm, and then when the internet seemed to go nuts over the fact the review embargo was so late. (It's not like embargos are unusual, I don't see how you can draw conclusions from release and embargo being on the same day... this seems entirely logical. *deep breath*)
Something I would like to query is the fact that someone decided it was sensible to put a reaction video of three of the stars seeing the Dark Phoenix trailer in 4DX. It's a little bit of fun, but frustrating if you've been trying to avoid trailers and spoilers before seeing the film.
Wow... waffle... to the film!
The team take on a mission to space when a shuttle loses control and is in the path of what appears to be solar flares. The mission seems successful until they realise there's still a crew member trapped. With the shuttle disintegrating the only ones who can safely make it are Jean and Nightcrawler. As Jean holds the shuttle in place Nightcrawler rescues the last man from the wreckage but when he returns for her she's already encountered the strange space energy.
Somehow despite the destruction of the shuttle Jean survives floating in space, Nightcrawler brings her back to the X-Jet and the whole team return to Earth as heroes. Jean wasn't left unchanged by her encounter though, she's changing, and as her mind begins to open the danger starts to grow.
Almost all of the characters in Dark Phoenix go through some sort of change. Jean comes face to face with her past and a power that is even more difficult to control than her own. Professor Xavier is less of a friend in his current persona than he's ever been before, and in this moment may not be the leader the X-Men need. Certainly by the end of the film each character has grown in some way. I'm not sure I was a fan of the changes in Professor Xavier, they were necessary in some respects but in the context of the rest of the series are a bit of a shock and out of the blue.
Thankfully some things don't change, and Quicksilver is still very funny, the occasional laugh was needed in what was quite a serious film.
Very briefly I want to talk about the effects. There's obviously a lot of them but I didn't spot anything that was outright terrible. (There's one moment in Cerebro, but that's more to do with how they choose to depict Cerebral's general imagery than anything.) My real standout moment is Jean's hair when she is embracing Dark Phoenix. We are given the floating underwater swirling effect that we should have seen in Aquaman.
It's been a while since I've seen all of the other films, although I did rewatch Last Stand and Apocalypse in the run up to this. There were a few moments where I saw flashes of Last Stand in Dark Phoenix which I thought was a nice touch.
I'm not sure there's a lot of point dwelling much on the acting for the main cast, it's consistent and what you'd expect for the franchise. Nicholas Hoult was able to bring a slightly bigger performance and he's probably one of the only regulars that had the ability to do that with his story.
Our villains were led by Jessica Chastain as Vuk. Vuk as a character and most of her group in general are actually quite bland. As emotionless aliens there's little to either love or hate. Had they been slightly more human than drone-like then they might have had a bigger impact. The only moment where I saw some good acting was when Vuk is with Jean near the very end and a look comes across her face and I thought, "oooh, acting!"
I wasn't entirely sure what was happening with Raven. She seemed to be a bundle of contradictions and got a terrible hand when it came to the script. I did want to slap her at one point, there was no need for what she did! NO NEED!
[Random thought: If Raven's scales/skin ripples when she transforms then how does she manage to do that when she's wearing an X-Suit? And also, why does she bother changing to her human look when she's in the mansion?]
The actions sequences were very good, the train scene felt like it had been crafted perfectly. Possibly a little too organised, but overall the entire scene came together. I particularly liked the choice of music when it coincided with Storm's piece, wonderfully atmospheric. (A pun? Perhaps.)
If there's anything I've taken from this it's that Dark Phoenix annoyed me less than Endgame did. It's not epic, but then I've never felt like the franchise has ever been that high on the scale. I'm reasonably happy with where it's left the sequence and what the future of the franchise might hold. I honestly don't think it deserves the hate that it's been getting.
What you should do
I think that you should go and see it, the action is good and a nice diversion for a couple of hours.
Movie thing you wish you could take home
I'd always want a superpower, but my choice changes more than Raven does.
Gareth von Kallenbach (965 KP) rated Climax (2018) in Movies
Jul 2, 2019
If you’re going to see this film, it likely won’t be a huge surprise to you. Those that will buy a ticket already know who Gaspar Noé is and what he’s all about. Films like Irreversible and Enter the Void have defined him as an artist of scandal, evil and the extreme. Climax follows directly in the footsteps of those films, but at this point it does leave us wondering if there’s any room for growth in this writer/director or if we’ll just continue to get more of the same until we’re sufficiently numb to his offerings.
The setting for Noé’s latest tour of human horrors is the final rehearsal of a French dance troupe set to tour internationally. The film begins with the final scene of the movie and the ending credits. Then, just as your confusion has built to appropriate levels, things actually begin with videotaped interviews of all 22 members in an attempt to give you some semblance of character introduction. Shown on an older TV, the screen is surrounded by books and plays focused on ultra-negative philosophical views and subjects such as schizophrenia and suicide. So, despite the rather upbeat and optimistic responses of the prospective dancers, the tone is already being set for the madness that is about to commence.
From there we are taken to the big dance number. A ten-minute single shot involving the entire cast choreographed to 90’s EDM music. While this scene felt a little bit long, it did nearly as much to introduce the characters as the audition tapes shown earlier. Each dancer has a unique style and flair that executes a certain character development. Once the dance is complete it feels like the movie finally begins and the cast starts their post-rehearsal party. The soiree involves dancing (of course), drinking (homemade sangria) and some minor cocaine use. But it mostly consists of quick shots between different cast members taking part in some intergroup gossip. We are treated to one more (non-choreographed) dance scene with each individual showing their talents in a circle of their comrades, then we break again for more conversation. As the party continues on everyone starts to feel a little bit funny. They quickly deduce that the sangria has been spiked with LSD, but cannot determine who drugged them.
And this is where the hour-long journey into hell embarks from. The realization that they have been drugged seems to worry them very little, but does instantly turn them all against each other. The effects of the LSD ramp up rather quickly and as the cast members descend into madness the audience is treated to a myriad of trauma and depravity including: rape, incest, self-mutilation, child electrocution and an attempted abortion via a swift kick to the stomach. None of this should be any surprise to someone familiar with Noé’s work. But if this is your first experience with his particular brand of filmmaking, then be prepared to leave no perverted stone unturned.
One of the most impressive things about this film is how little preparation actually went into it. The entire film was shot in 15 days and edited to completion in only 3 months after that in order to meet the Cannes festival deadline. In addition, it was shot with a mere 5 pages of script. The majority of the film consists of both dancing and psychotic undulations inspired by web videos of people high on crack, ecstasy and acid which were hand-selected by Noé. So, despite the assumed need for structure that comes with extended tracking shots such as these, the whole movie is (surprisingly) mostly ad-libbed. Only the opening dance scene is choreographed with all of the remaining ones being the result of the how the dancers chose to express themselves through dance.
In the end you’ll be left wondering if all of the shock and awe that’s been served to you actually meant something, or if it was simply sensory overload for the sake of itself. And that’s where the movie really falls short. If Noé had meant for any sort of deeper meaning in this film, it was ultimately lost to extreme subtlety. I did my best to find the clever allegory here (French history and culture, biblical stories, etc.) and I admittedly fell short. “Birth is a unique opportunity. Life is an impossible collective. Death is an extraordinary experience,” read three title cards which flash throughout the journey of Climax. Although these sayings are poetic and beautiful, they seem to have little or loose application to the actual storyline.
The strongest feelings in this film are not evoked from any sort of meaning or fable-style lesson. They come from the distress and disgust brought about by the actions of the characters and, more so, the beautifully executed cinematography. Every filming technique meant to cause discomfort is present here including: long tracking shots, inverted imagery, black screen with nonlinear sounds and subliminal images. The application and combination of all of these effects means that much credit for this film should most likely go to Noé’s DP, Benoit Debie.
Fundamentally, the judgement for a Gaspar Noé film exists on a different scale than any other film. And while that concept can be new and exciting when the first shocking film debuts, you quickly realize that subsequent ones have to continue to push the boundaries that were originally broken. Otherwise you run the risk of becoming stale. We may have gotten to that point now with Noé. Climax brings very little new shock to the table for a director who has developed his reputation as a purveyor of wickedness. Those who attend this movie will be looking for him to push their horror to new levels, but will likely end up unfulfilled. Although the lack of a new frontier doesn’t remove all of the value for the film, Noé has made implicit promises through his other work which he has failed to deliver upon with Climax.
The setting for Noé’s latest tour of human horrors is the final rehearsal of a French dance troupe set to tour internationally. The film begins with the final scene of the movie and the ending credits. Then, just as your confusion has built to appropriate levels, things actually begin with videotaped interviews of all 22 members in an attempt to give you some semblance of character introduction. Shown on an older TV, the screen is surrounded by books and plays focused on ultra-negative philosophical views and subjects such as schizophrenia and suicide. So, despite the rather upbeat and optimistic responses of the prospective dancers, the tone is already being set for the madness that is about to commence.
From there we are taken to the big dance number. A ten-minute single shot involving the entire cast choreographed to 90’s EDM music. While this scene felt a little bit long, it did nearly as much to introduce the characters as the audition tapes shown earlier. Each dancer has a unique style and flair that executes a certain character development. Once the dance is complete it feels like the movie finally begins and the cast starts their post-rehearsal party. The soiree involves dancing (of course), drinking (homemade sangria) and some minor cocaine use. But it mostly consists of quick shots between different cast members taking part in some intergroup gossip. We are treated to one more (non-choreographed) dance scene with each individual showing their talents in a circle of their comrades, then we break again for more conversation. As the party continues on everyone starts to feel a little bit funny. They quickly deduce that the sangria has been spiked with LSD, but cannot determine who drugged them.
And this is where the hour-long journey into hell embarks from. The realization that they have been drugged seems to worry them very little, but does instantly turn them all against each other. The effects of the LSD ramp up rather quickly and as the cast members descend into madness the audience is treated to a myriad of trauma and depravity including: rape, incest, self-mutilation, child electrocution and an attempted abortion via a swift kick to the stomach. None of this should be any surprise to someone familiar with Noé’s work. But if this is your first experience with his particular brand of filmmaking, then be prepared to leave no perverted stone unturned.
One of the most impressive things about this film is how little preparation actually went into it. The entire film was shot in 15 days and edited to completion in only 3 months after that in order to meet the Cannes festival deadline. In addition, it was shot with a mere 5 pages of script. The majority of the film consists of both dancing and psychotic undulations inspired by web videos of people high on crack, ecstasy and acid which were hand-selected by Noé. So, despite the assumed need for structure that comes with extended tracking shots such as these, the whole movie is (surprisingly) mostly ad-libbed. Only the opening dance scene is choreographed with all of the remaining ones being the result of the how the dancers chose to express themselves through dance.
In the end you’ll be left wondering if all of the shock and awe that’s been served to you actually meant something, or if it was simply sensory overload for the sake of itself. And that’s where the movie really falls short. If Noé had meant for any sort of deeper meaning in this film, it was ultimately lost to extreme subtlety. I did my best to find the clever allegory here (French history and culture, biblical stories, etc.) and I admittedly fell short. “Birth is a unique opportunity. Life is an impossible collective. Death is an extraordinary experience,” read three title cards which flash throughout the journey of Climax. Although these sayings are poetic and beautiful, they seem to have little or loose application to the actual storyline.
The strongest feelings in this film are not evoked from any sort of meaning or fable-style lesson. They come from the distress and disgust brought about by the actions of the characters and, more so, the beautifully executed cinematography. Every filming technique meant to cause discomfort is present here including: long tracking shots, inverted imagery, black screen with nonlinear sounds and subliminal images. The application and combination of all of these effects means that much credit for this film should most likely go to Noé’s DP, Benoit Debie.
Fundamentally, the judgement for a Gaspar Noé film exists on a different scale than any other film. And while that concept can be new and exciting when the first shocking film debuts, you quickly realize that subsequent ones have to continue to push the boundaries that were originally broken. Otherwise you run the risk of becoming stale. We may have gotten to that point now with Noé. Climax brings very little new shock to the table for a director who has developed his reputation as a purveyor of wickedness. Those who attend this movie will be looking for him to push their horror to new levels, but will likely end up unfulfilled. Although the lack of a new frontier doesn’t remove all of the value for the film, Noé has made implicit promises through his other work which he has failed to deliver upon with Climax.
Kirk Bage (1775 KP) rated Roma (2018) in Movies
Mar 2, 2020 (Updated Mar 3, 2020)
I watched Roma exactly a week ago today. And although I knew 20 minutes in that I loved it, and at the end that I really loved it, I have taken that time to let it settle within me in before coming to write about it. Some films are so good that you have to do that: let it sink into you fully, before doing anything so trivial as judging and comparing them. Roma is incomparable! I have never seen anything like it, or felt as deeply moved by a film in a long time.
Not that it didn’t get attention at the time of its release, it did, receiving 10 Oscar nominations and winning 3, for best foreign language film, director and cinematography, but it certainly wasn’t seen by as many people as it should have been, despite its presence on Netflix from the start. Having digested it now, and spending some time reading about how and why it was made, I feel a slight mission to recommend it to as many people as I can.
Based on Alfonso Cuarón’s own childhood in Mexico City, and his memories of his family and especially their housemaid, Liboria (Libo) Rodriguez, to whom the film is dedicated, it is a masterpiece labour of love that few directors ever achieve or even attempt to make. After a strong career of exceptional films, including Y Tu Mamá También, Children of Men and Gravity, it was the box office and critical success of the latter that gave Cuarón carte blanche to go and make whatever project he chose. Where many might have been tempted by the big money of superhero or fantasy movies (for which he had some experience with Harry Potter and the Prisoner of Azkaban) he went back to his roots and shot a very personal non-English film, in black and white, where no music exists except that which occurs naturally, and on the surface not much happens.
At least it feels like not much is happening, such is the naturalistic, almost improvised (although it wasn’t) style and pace; shot with a lens capturing detail and nuance with some of the most beautiful photography I have ever had the privilege to see. Truly, an awful lot is happening, but you have to feel and experience it, not simply be told it by the narrative. It takes a while for our Hollywood conditioned brains to accept this at first, and many might come to it and give up half an hour in because of that challenge. I can promise, however, there is not a single thing boring about this film, unless humanity is boring.
Oscar nominated lead Yalitza Aparicio as the shy, loving maid, Cleo, was not an actor before this film. She auditioned and was hand picked by Cuarón from hundreds of young women, without knowing who he was or what the film was about. Apparently, the film was shot in sequence so as not to confuse her emotionally on her extraordinary journey. She is so unassuming and natural that part of you falls in love with her immediately. In time, we almost come to forget we are watching an act at all, and almost become her, such is the empathy she evokes.
Which isn’t an easy ride, as we watch her be gently and then cruelly ignored, mistreated and used; climaxing in one of the most astonishingly painful and jaw-dropping scenes imaginable, and then a scene of such powerful redemption and humanity it instantly breaks the heart and lifts the soul. All the while she never asks for attention or love, but is just herself: a young woman living a difficult but beautiful life in a country and time full of turmoil, prejudice and social change.
The recreation of Mexico in 1970 is so breathtaking, it is hard to imagine at times we are not watching a documentary from that era. But, it is the detail the lens chooses to capture that reminds you this is a visual poem and a love-letter to a time, a place and a family far away in history and the memory of one man (represented by ten year old Carlos Peralta as Paco). At times it evokes the work of the very greatest film artists of all time: Bergman, Fellini, Hitchcock etc. Not one image is wasted or insignificant, from the reflection of the sky in water, to the dog-shit constantly lining the driveway. Everything is chosen and meaningful in the full context of the work.
There is no awkward exposition, no dramatic moments milked for all they are worth, no sequences of heightened excitement that manipulate us; simply truthful moments that hang in the air for what they are, leaving us to decide how we relate to them without ever preaching or teaching us how. In that way, it is a work of such maturity that I doubt many living directors could emulate it at all. The closest comparison I can think of is the personal passion Spielberg put into Shindler’s List, but really it is a moot comparison, and in fact owes much more to films like Haneke’s The White Ribbon.
Can it be faulted? Well, yes, certainly. But, honestly, I don’t see the point in trying. It is as close to perfection a small story of this kind can be. Importantly, I think it is an open film, that allows us to take from it whatever we like, relating to our own experiences and cares. For me, it said that any pain and hardship can be overcome, as long as there is love and beauty walking by its side. A message of no small importance. If you haven’t seen it, I urge you to do so. If you have, then please keep spreading the word. I believe it to be a genuine classic that will endure the criticism of many decades to come. Without a doubt in my mind something very special indeed.
Not that it didn’t get attention at the time of its release, it did, receiving 10 Oscar nominations and winning 3, for best foreign language film, director and cinematography, but it certainly wasn’t seen by as many people as it should have been, despite its presence on Netflix from the start. Having digested it now, and spending some time reading about how and why it was made, I feel a slight mission to recommend it to as many people as I can.
Based on Alfonso Cuarón’s own childhood in Mexico City, and his memories of his family and especially their housemaid, Liboria (Libo) Rodriguez, to whom the film is dedicated, it is a masterpiece labour of love that few directors ever achieve or even attempt to make. After a strong career of exceptional films, including Y Tu Mamá También, Children of Men and Gravity, it was the box office and critical success of the latter that gave Cuarón carte blanche to go and make whatever project he chose. Where many might have been tempted by the big money of superhero or fantasy movies (for which he had some experience with Harry Potter and the Prisoner of Azkaban) he went back to his roots and shot a very personal non-English film, in black and white, where no music exists except that which occurs naturally, and on the surface not much happens.
At least it feels like not much is happening, such is the naturalistic, almost improvised (although it wasn’t) style and pace; shot with a lens capturing detail and nuance with some of the most beautiful photography I have ever had the privilege to see. Truly, an awful lot is happening, but you have to feel and experience it, not simply be told it by the narrative. It takes a while for our Hollywood conditioned brains to accept this at first, and many might come to it and give up half an hour in because of that challenge. I can promise, however, there is not a single thing boring about this film, unless humanity is boring.
Oscar nominated lead Yalitza Aparicio as the shy, loving maid, Cleo, was not an actor before this film. She auditioned and was hand picked by Cuarón from hundreds of young women, without knowing who he was or what the film was about. Apparently, the film was shot in sequence so as not to confuse her emotionally on her extraordinary journey. She is so unassuming and natural that part of you falls in love with her immediately. In time, we almost come to forget we are watching an act at all, and almost become her, such is the empathy she evokes.
Which isn’t an easy ride, as we watch her be gently and then cruelly ignored, mistreated and used; climaxing in one of the most astonishingly painful and jaw-dropping scenes imaginable, and then a scene of such powerful redemption and humanity it instantly breaks the heart and lifts the soul. All the while she never asks for attention or love, but is just herself: a young woman living a difficult but beautiful life in a country and time full of turmoil, prejudice and social change.
The recreation of Mexico in 1970 is so breathtaking, it is hard to imagine at times we are not watching a documentary from that era. But, it is the detail the lens chooses to capture that reminds you this is a visual poem and a love-letter to a time, a place and a family far away in history and the memory of one man (represented by ten year old Carlos Peralta as Paco). At times it evokes the work of the very greatest film artists of all time: Bergman, Fellini, Hitchcock etc. Not one image is wasted or insignificant, from the reflection of the sky in water, to the dog-shit constantly lining the driveway. Everything is chosen and meaningful in the full context of the work.
There is no awkward exposition, no dramatic moments milked for all they are worth, no sequences of heightened excitement that manipulate us; simply truthful moments that hang in the air for what they are, leaving us to decide how we relate to them without ever preaching or teaching us how. In that way, it is a work of such maturity that I doubt many living directors could emulate it at all. The closest comparison I can think of is the personal passion Spielberg put into Shindler’s List, but really it is a moot comparison, and in fact owes much more to films like Haneke’s The White Ribbon.
Can it be faulted? Well, yes, certainly. But, honestly, I don’t see the point in trying. It is as close to perfection a small story of this kind can be. Importantly, I think it is an open film, that allows us to take from it whatever we like, relating to our own experiences and cares. For me, it said that any pain and hardship can be overcome, as long as there is love and beauty walking by its side. A message of no small importance. If you haven’t seen it, I urge you to do so. If you have, then please keep spreading the word. I believe it to be a genuine classic that will endure the criticism of many decades to come. Without a doubt in my mind something very special indeed.
Emma @ The Movies (1786 KP) rated My Hero Academia: Heroes Rising (2020) in Movies
Mar 12, 2020
It was very exciting to finally get an anime screening at my local Cineworld. We don't seem to get considered for these different screenings very often so it made a nice change to see something a little unusual.
A class of superheroes-in-training are sent to an island where the resident hero has retired. Getting experience is the best way to learn and getting to know the people around them will help them learn what they're fighting for.
The day to day hero life is hum-drum but fulfilling and most of the trainees are settling in well. Things are about to change, a spate of superpower robberies take place and it seems the culprits are heading for the island.
I've read manga in the past and have seen snippets of anime from time to time but I don't think I've ever sat down to a whole film of it apart from Pokemon. Possibly I shouldn't have started with something fairly deep in an existing franchise but I wasn't aware of it beforehand, and actually, I would have said it could have been a standalone after watching it.
It was really nice to see so many people there for it, there were about 30 others which felt like quite a lot for our cinema, more than I was expecting... and by the look of it there were all young enough to be my kids, so that was a fun experience.
I'm not going to lie, I was very confused at the beginning. It opens on a chase sequence and with no idea who these characters were or what was happening, I was lost. It doesn't take too long to get the gist of everything after this but it really threw me for a while.
On the advice of Twitter peeps I went and saw the subtitled release rather than the dubbed, this would have been my personal choice too as I find dubbing a rather hit and miss format. I'm not sure what might be lost in translation but some of the dialogue didn't seem natural, it might be an interesting experience to see it again with a dubbed track over it for the comparison.
You know when you're driving and looking for a turning so you can see where you're going better? During that first chase scene in particular the music is quite loud and the voices were hardly audible... I know I didn't need to head the audio as I wouldn't have understood it anyway but reading the subtitles without hearing the pacing was quite tricky and felt like it was partly why the scene was confusing to me. (This brings up all sorts of questions about subtitles when people HAVE to use them that I'd never even considered before.) The sound issue did get a little better as it progressed, but there was still a discrepancy through the film.
One good guy has to be virtuous and self-sacrificing, one has to be overly aggressive with a hidden soft side, another has to be adorably cute. Is that how they all work or just this one? Oh, and for the most part, everyone has to have great hair. I found either end of the scale of characters to be frustrating, Mahoro and Bakugo (I hope I'm getting these character names right) were on the aggressive side and the outbursts of screaming didn't make a lot of sense. There are several of the heroes that have a rather saccharine demeanour that also grated at me. Within the ensemble though there were characters like Deku and Katsuma who felt much more balanced, and Katsuma was so adorable to boot.
The story for the film seemed simple enough, bad guys want something, good guys have to protect it and stop them. Classic. But the back story to it seemed very complicated with a whole section of the film verging on unnecessary. This could be something that makes more sense with it combined with the series, but it's not something I'm going to know for now.
That may or may not have contributed to me struggling through the first 40 minutes of the film. I'm sure a little advanced knowledge might have helped, for example, I don't know whether Nine's motivations were established in the series. As it was it took me a while to work out.
Once we hit the confrontation of the film everything really picks up and I was a lot more engaged. As it progresses there's quite a strong moral compass that becomes evident and a lot of teachable moments are thrown at us, by the end I was really moved by some of the characters and their actions. Emotions were surprisingly well handled and the sense of right and wrong with them come across well.
I did have fun watching the film but there were things that held me back. The fact that the villain is well matched by a group of unattended school kids with only a partial grasp on their powers being one. Essentially the heroes come back for round two with nothing more than determination, but I get the sense that that all just helps with the sense that anyone can triumph over evil. I could rant on about this until the cows come home.
The biggest thing that held this back is not really a negative to the film, it's more that I'm a newbie to it. Anime is made up of several different styles, realistic, cartoonish, fantastical, that's a lot to deal with when you're not familiar with something. In a bad comparison for you it's like watching Who Framed Roger Rabbit? without knowing half the characters, you don't know why they look the way they do and you don't know what their function is. The only way that's going to make more sense to me is by watching more of it.
My Hero Academia: Heroes Rising is probably a good place for me to pick up some anime knowledge, once the film got going it was an enjoyable ride. As a nice surprise this also attracted the best audience I've had in quite a while.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/my-hero-academia-heroes-rising-movie.html
A class of superheroes-in-training are sent to an island where the resident hero has retired. Getting experience is the best way to learn and getting to know the people around them will help them learn what they're fighting for.
The day to day hero life is hum-drum but fulfilling and most of the trainees are settling in well. Things are about to change, a spate of superpower robberies take place and it seems the culprits are heading for the island.
I've read manga in the past and have seen snippets of anime from time to time but I don't think I've ever sat down to a whole film of it apart from Pokemon. Possibly I shouldn't have started with something fairly deep in an existing franchise but I wasn't aware of it beforehand, and actually, I would have said it could have been a standalone after watching it.
It was really nice to see so many people there for it, there were about 30 others which felt like quite a lot for our cinema, more than I was expecting... and by the look of it there were all young enough to be my kids, so that was a fun experience.
I'm not going to lie, I was very confused at the beginning. It opens on a chase sequence and with no idea who these characters were or what was happening, I was lost. It doesn't take too long to get the gist of everything after this but it really threw me for a while.
On the advice of Twitter peeps I went and saw the subtitled release rather than the dubbed, this would have been my personal choice too as I find dubbing a rather hit and miss format. I'm not sure what might be lost in translation but some of the dialogue didn't seem natural, it might be an interesting experience to see it again with a dubbed track over it for the comparison.
You know when you're driving and looking for a turning so you can see where you're going better? During that first chase scene in particular the music is quite loud and the voices were hardly audible... I know I didn't need to head the audio as I wouldn't have understood it anyway but reading the subtitles without hearing the pacing was quite tricky and felt like it was partly why the scene was confusing to me. (This brings up all sorts of questions about subtitles when people HAVE to use them that I'd never even considered before.) The sound issue did get a little better as it progressed, but there was still a discrepancy through the film.
One good guy has to be virtuous and self-sacrificing, one has to be overly aggressive with a hidden soft side, another has to be adorably cute. Is that how they all work or just this one? Oh, and for the most part, everyone has to have great hair. I found either end of the scale of characters to be frustrating, Mahoro and Bakugo (I hope I'm getting these character names right) were on the aggressive side and the outbursts of screaming didn't make a lot of sense. There are several of the heroes that have a rather saccharine demeanour that also grated at me. Within the ensemble though there were characters like Deku and Katsuma who felt much more balanced, and Katsuma was so adorable to boot.
The story for the film seemed simple enough, bad guys want something, good guys have to protect it and stop them. Classic. But the back story to it seemed very complicated with a whole section of the film verging on unnecessary. This could be something that makes more sense with it combined with the series, but it's not something I'm going to know for now.
That may or may not have contributed to me struggling through the first 40 minutes of the film. I'm sure a little advanced knowledge might have helped, for example, I don't know whether Nine's motivations were established in the series. As it was it took me a while to work out.
Once we hit the confrontation of the film everything really picks up and I was a lot more engaged. As it progresses there's quite a strong moral compass that becomes evident and a lot of teachable moments are thrown at us, by the end I was really moved by some of the characters and their actions. Emotions were surprisingly well handled and the sense of right and wrong with them come across well.
I did have fun watching the film but there were things that held me back. The fact that the villain is well matched by a group of unattended school kids with only a partial grasp on their powers being one. Essentially the heroes come back for round two with nothing more than determination, but I get the sense that that all just helps with the sense that anyone can triumph over evil. I could rant on about this until the cows come home.
The biggest thing that held this back is not really a negative to the film, it's more that I'm a newbie to it. Anime is made up of several different styles, realistic, cartoonish, fantastical, that's a lot to deal with when you're not familiar with something. In a bad comparison for you it's like watching Who Framed Roger Rabbit? without knowing half the characters, you don't know why they look the way they do and you don't know what their function is. The only way that's going to make more sense to me is by watching more of it.
My Hero Academia: Heroes Rising is probably a good place for me to pick up some anime knowledge, once the film got going it was an enjoyable ride. As a nice surprise this also attracted the best audience I've had in quite a while.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/03/my-hero-academia-heroes-rising-movie.html
Gareth von Kallenbach (965 KP) rated Les Misérables (2012) in Movies
Aug 7, 2019
Words cannot express how amazing this movie is. For those of you who have shouldered through the modern-day musical revival; suffering through the questionable singing talents of many stars as “Phantom of the Opera,” “Chicago,” “Moulin Rouge,” “Sweeny Todd,” and that abysmal rendition of “Nine” – I can assure you, that “Les Mis” will change that perception. For once, the casting crew took the time to select a cast capable of the repertoire’s vocal demands (and Les Mis is very vocally demanding – as most operatic pieces are). It’s apparent that each singer was heavily vocally coached and trained, some faring more so than others. While this is no replacement for raw talent, I can assure you that the cast was downright fantastic.
For years I studied and sang opera. I know music and I’ve sung my fair share of Les Mis pieces in my past. I adore Victor Hugo and “Les Misérables” is by far one of my favorite literary works. When I began to watch this movie, I was keyed up to be critical on the vocal spectrum, the literary aspect, and the representation of one of my favorite Broadway/London pieces. To be frank, I wasn’t disappointed at all.
For those unfamiliar with Hugo’s work or what to expect with Les Mis, let me give you a brief synopsis on its plot and the history of the French revolution in which this takes place. France has just endured her infamous Revolution (the one with the guillotine, Marie-Antoinette, and the Sans Culottes movement) and her people are still suffering. There is no money for food, the country is in the midst of a depression, and the Napoleonic regime is yet to come to fruition. Thus, you find Fantine (Hathaway), a poor but determined (and beautiful) woman trying desperately to make enough money to support her daughter, Cosette, who resides with friends in another city. The book reveals that Madame Thénardier (Bonham-Carter) and her husband, Thénardier (Baron-Cohen) were supposed to be taking the money that Fantine had given to them to provide for her daughter, Cosette. Instead, however, Cosette is forced to live in absolute poverty while Thénardier’s daughter, Eponine, lives the life of opulence. Meanwhile, Jean Valjean (Jackman), an ex-convict, is trying desperately to find legitimate work after his stint in prison for stealing a loaf of bread to provide for his starving family. The infamous policeman, Javert (Crowe), feels Valjean will re-offend and makes it his mission to pursue Valjean until the end.
Finding the world a terrible place as an ex-convict, Valjean seeks to steal from a church her silver, believing he has no other way to survive. It is the love of a good priest, however, who gives Valjean the silver he seeks under the pledge he will become a servant of God and provide for others the same good he has provided for him. Thus, years later, we find Valjean a reformed man (who has skipped on his parole and assumed a new name), running a factory in which Fantine works. And so, when Fantine is fired from her job and takes to a life of prostitution in order to provide for her daughter, it is Valjean who feels the burden of her demise and takes it upon himself to save Cosette and raise her as his own.
Of course, this entire time, Javert is pursuing Valjean and a new revolution is starting to take place amongst Paris’ people. Years later we find Cosette grown to womanhood (now played by Seyfried), and falling in love with one of the revolution’s key players, a youth by the name of Marius (Redmayne). The Thénardiers are back again and we find their once-grand lifestyle has resorted to a life of gutter-crime and Éponine (now played by Barks), is desperately in love with Marius as well (although her love is unrequited). For those unfamiliar with how the story plays out, I will leave it at that.
I will caution those who have never seen this play to prepare for a long show. It is very dramatic and very intense, but visually breath-taking and emotionally moving in so many ways. Vocally, there are times when the legato is lacking and some transitions seemed forced (Crowe struggled many times with allowing his natural vibrato to come through instead of pushing a sustained note; Seyfried’s vibrato is very trill-like and sometimes distracts from the pure quality of her spinto-soprano range). However, I must say that I was blown away by Hathway’s performance (she brought me to tears with “I Dreamed a Dream” due to her emotional rendition) and her ability to truly escape into her character. Similarly, Tviet (he played Enjolras) was stunning with his vocal command and Redmayne was equally as impressive. Jackman will amaze you with his rich tenor and, surprisingly, I found Crowe to have a fantastic baritone when he didn’t force his work. Baron-Cohen and Bonham-Carter provided a much needed comical respite throughout the film (and both sing beautifully as well, although this movie didn’t focus on their vocal command as much). Barks did a lovely job for most of her work; although I found her rendition of “On My Own” a bit forced (she is a true mezzo but seemed to push her high notes, although this may have been where her voice shifted into her head voice which is no fault of her own).
Overall, if you are an avid musical lover and have been waiting for a proper rendition of this production, this movie will astound you. Visually, the movie is breath-taking and the acting is absolutely fantastic. I’m still haunted by the revolutionary song, to be honest. If you’ve been waiting for a musical worthy of the big screen, this one is it. Look for it to sweep the Oscars this year.
This movie deserves an A all around.
For years I studied and sang opera. I know music and I’ve sung my fair share of Les Mis pieces in my past. I adore Victor Hugo and “Les Misérables” is by far one of my favorite literary works. When I began to watch this movie, I was keyed up to be critical on the vocal spectrum, the literary aspect, and the representation of one of my favorite Broadway/London pieces. To be frank, I wasn’t disappointed at all.
For those unfamiliar with Hugo’s work or what to expect with Les Mis, let me give you a brief synopsis on its plot and the history of the French revolution in which this takes place. France has just endured her infamous Revolution (the one with the guillotine, Marie-Antoinette, and the Sans Culottes movement) and her people are still suffering. There is no money for food, the country is in the midst of a depression, and the Napoleonic regime is yet to come to fruition. Thus, you find Fantine (Hathaway), a poor but determined (and beautiful) woman trying desperately to make enough money to support her daughter, Cosette, who resides with friends in another city. The book reveals that Madame Thénardier (Bonham-Carter) and her husband, Thénardier (Baron-Cohen) were supposed to be taking the money that Fantine had given to them to provide for her daughter, Cosette. Instead, however, Cosette is forced to live in absolute poverty while Thénardier’s daughter, Eponine, lives the life of opulence. Meanwhile, Jean Valjean (Jackman), an ex-convict, is trying desperately to find legitimate work after his stint in prison for stealing a loaf of bread to provide for his starving family. The infamous policeman, Javert (Crowe), feels Valjean will re-offend and makes it his mission to pursue Valjean until the end.
Finding the world a terrible place as an ex-convict, Valjean seeks to steal from a church her silver, believing he has no other way to survive. It is the love of a good priest, however, who gives Valjean the silver he seeks under the pledge he will become a servant of God and provide for others the same good he has provided for him. Thus, years later, we find Valjean a reformed man (who has skipped on his parole and assumed a new name), running a factory in which Fantine works. And so, when Fantine is fired from her job and takes to a life of prostitution in order to provide for her daughter, it is Valjean who feels the burden of her demise and takes it upon himself to save Cosette and raise her as his own.
Of course, this entire time, Javert is pursuing Valjean and a new revolution is starting to take place amongst Paris’ people. Years later we find Cosette grown to womanhood (now played by Seyfried), and falling in love with one of the revolution’s key players, a youth by the name of Marius (Redmayne). The Thénardiers are back again and we find their once-grand lifestyle has resorted to a life of gutter-crime and Éponine (now played by Barks), is desperately in love with Marius as well (although her love is unrequited). For those unfamiliar with how the story plays out, I will leave it at that.
I will caution those who have never seen this play to prepare for a long show. It is very dramatic and very intense, but visually breath-taking and emotionally moving in so many ways. Vocally, there are times when the legato is lacking and some transitions seemed forced (Crowe struggled many times with allowing his natural vibrato to come through instead of pushing a sustained note; Seyfried’s vibrato is very trill-like and sometimes distracts from the pure quality of her spinto-soprano range). However, I must say that I was blown away by Hathway’s performance (she brought me to tears with “I Dreamed a Dream” due to her emotional rendition) and her ability to truly escape into her character. Similarly, Tviet (he played Enjolras) was stunning with his vocal command and Redmayne was equally as impressive. Jackman will amaze you with his rich tenor and, surprisingly, I found Crowe to have a fantastic baritone when he didn’t force his work. Baron-Cohen and Bonham-Carter provided a much needed comical respite throughout the film (and both sing beautifully as well, although this movie didn’t focus on their vocal command as much). Barks did a lovely job for most of her work; although I found her rendition of “On My Own” a bit forced (she is a true mezzo but seemed to push her high notes, although this may have been where her voice shifted into her head voice which is no fault of her own).
Overall, if you are an avid musical lover and have been waiting for a proper rendition of this production, this movie will astound you. Visually, the movie is breath-taking and the acting is absolutely fantastic. I’m still haunted by the revolutionary song, to be honest. If you’ve been waiting for a musical worthy of the big screen, this one is it. Look for it to sweep the Oscars this year.
This movie deserves an A all around.
Steven Fell (41 KP) rated Nothing is True & Everything is Possible by Enter Shikari in Music
Apr 21, 2020 (Updated Apr 21, 2020)
Mix of old and new styles of Shikari (3 more)
Songs that are going to be incredible live
Satellites message
Overall a solid set of songs
Will divide fans (2 more)
Pace is up and down
May be hard to sell for new listeners of the band
The definitive album?
Nothing is true and everything is possible is the 5th studio album by Enter Shikari was released on Friday 17th April 2020 containing 15 'songs'. While speaking about the album before release Rou the lead singer and only producer of the album described the album as the definitive Enter Shikari album. This statement is very important and for me changed how I listened to the album. For the most part I agree with Rou. It's an album full of songs that could fit into any of Shikari's previous albums or even their side project Shikari sound system. It also gives us clues into a new direction they may want to take.
This is also the problem NITEIP may face with dividing fans. Shikari's last album The Spark was met with some hesitation from the band's most devoted fans from being very different from say their earlier work like take to the skies and common dreads. Taking a more 'softer' approach and really letting Rou's voice carry the songs. The Spark happens to be my favourite Shikari album and I think Rou has one of the greatest lead singer voices in recent times and doesn't always get the recognition he deserves.
Two songs that I beileve may take diehard fans out of the album are crossing the Rubicon and The pressures on. Both are very 'poppy' and could easily be slotted onto a more main stream bands album. Although crossing the Rubicon has a little Easter egg back to labyrinth and a catchy chorus which will get stuck in your head. Crossing the Rubicon does feels weirdly out of place though, sandwhiched between the quite frankly phenomenal opening track the great unknown and the lead single the dreamers hotel which also deserves credit for being a tune that will surely make people 'pop' live, it is also rightly in my eyes the lead single.
Shikari gifted us with five songs just before release the great unknown, the dreamers hotel, the king, T.I.N.A and satellites. All of these songs are brilliant and really got me excited for the album but compared to the other tracks may leave people disappointed that this isn't the style throughout the album. However I found myself loving the slower pace to both parts of waltzing of the face of the earth. Marionettes is another two parter which is also slower to begin with in part one but builds brilliantly into Marionettes part 2s chorus which is an absolute blast and I find my self bellowing it out. It showcases both rou's incredible writing and beautiful voice with the line "our minds are firewood and now we spark the match, we set ourselves alight" being my favourite lyrics on the entire album.
Satellites the second single off the album released the day before the album dropped is a very passionate piece that was wrote by Rou and in his own words was to show his compassion towards the LGBTQ community. "So we don't hold hands in daylight" a line from the song in which rou's friend told him he was scared to do brings you instantly into one of Shikari's most meaningful and deeply involving songs throughout their discography. Another song that is surely going to be a hit and already been given great feedback online which also manages to show that Rou's writing is both on top form and evolving album to album.
T.I.N.A was my least favourite of the songs released before the album but is cleverly placed after Reprise 3 which is an Easter egg fans will crave and really makes T.I.N.A one of the standout tracks. The king my personal favourite from the album is a song that feels both familiar and fresh which I wish was placed last to close out the album but I also understand finishing with waltzing of the face of the earth part 2 as a come down song but this may again take people away from the album wanting to finish on a banger.
Modern living is one of the songs that really caught my ear on my first play through and even made me instantly replay it. It has a very nineties vibe which you could imagine a band like blur releasing. It is followed by apocholics anonymous which for me is a skipable track that although feeds from modern living doesn't add to it like reprise 3 does for T.I.N.A.
Elegcy for extinction is a completely different beast compared to anything Enter Shikari have released before. It's a orchestral piece with no lyrics that would easily fit on a film score and even sounds Disney esque to begin with before possibly finishing in a battle. Well that's how I saw it in my head. This is another song that may divide people but it's a compelling piece that makes me believe the band could easily venture into movie scores into the future which is something I didn't know I needed.
Special mention needs to go for creating an album where it feels every type type of instrument was used and to full effect. I also believe this is the album where Rob Rolfe really gets to shine on drums. To me it feels like you can hear his confidence come through in some of the most intense songs.
To summarise this does feel like a collection of Shikari styles which will both please and annoy fans. For me I found it a pleasant surprise and came at a time where we all needed a pick up. Shikari have always managed to blend genres of music and this is an album showcasing their talent to do just that, even managing to tackle classical. As for it being the definitive album I would have to agree with Rou with it being an album that manages to make me reminisce and look forward to the future.
Thanks for reading and I hope you enjoy the album. Stay safe.
Steve
This is also the problem NITEIP may face with dividing fans. Shikari's last album The Spark was met with some hesitation from the band's most devoted fans from being very different from say their earlier work like take to the skies and common dreads. Taking a more 'softer' approach and really letting Rou's voice carry the songs. The Spark happens to be my favourite Shikari album and I think Rou has one of the greatest lead singer voices in recent times and doesn't always get the recognition he deserves.
Two songs that I beileve may take diehard fans out of the album are crossing the Rubicon and The pressures on. Both are very 'poppy' and could easily be slotted onto a more main stream bands album. Although crossing the Rubicon has a little Easter egg back to labyrinth and a catchy chorus which will get stuck in your head. Crossing the Rubicon does feels weirdly out of place though, sandwhiched between the quite frankly phenomenal opening track the great unknown and the lead single the dreamers hotel which also deserves credit for being a tune that will surely make people 'pop' live, it is also rightly in my eyes the lead single.
Shikari gifted us with five songs just before release the great unknown, the dreamers hotel, the king, T.I.N.A and satellites. All of these songs are brilliant and really got me excited for the album but compared to the other tracks may leave people disappointed that this isn't the style throughout the album. However I found myself loving the slower pace to both parts of waltzing of the face of the earth. Marionettes is another two parter which is also slower to begin with in part one but builds brilliantly into Marionettes part 2s chorus which is an absolute blast and I find my self bellowing it out. It showcases both rou's incredible writing and beautiful voice with the line "our minds are firewood and now we spark the match, we set ourselves alight" being my favourite lyrics on the entire album.
Satellites the second single off the album released the day before the album dropped is a very passionate piece that was wrote by Rou and in his own words was to show his compassion towards the LGBTQ community. "So we don't hold hands in daylight" a line from the song in which rou's friend told him he was scared to do brings you instantly into one of Shikari's most meaningful and deeply involving songs throughout their discography. Another song that is surely going to be a hit and already been given great feedback online which also manages to show that Rou's writing is both on top form and evolving album to album.
T.I.N.A was my least favourite of the songs released before the album but is cleverly placed after Reprise 3 which is an Easter egg fans will crave and really makes T.I.N.A one of the standout tracks. The king my personal favourite from the album is a song that feels both familiar and fresh which I wish was placed last to close out the album but I also understand finishing with waltzing of the face of the earth part 2 as a come down song but this may again take people away from the album wanting to finish on a banger.
Modern living is one of the songs that really caught my ear on my first play through and even made me instantly replay it. It has a very nineties vibe which you could imagine a band like blur releasing. It is followed by apocholics anonymous which for me is a skipable track that although feeds from modern living doesn't add to it like reprise 3 does for T.I.N.A.
Elegcy for extinction is a completely different beast compared to anything Enter Shikari have released before. It's a orchestral piece with no lyrics that would easily fit on a film score and even sounds Disney esque to begin with before possibly finishing in a battle. Well that's how I saw it in my head. This is another song that may divide people but it's a compelling piece that makes me believe the band could easily venture into movie scores into the future which is something I didn't know I needed.
Special mention needs to go for creating an album where it feels every type type of instrument was used and to full effect. I also believe this is the album where Rob Rolfe really gets to shine on drums. To me it feels like you can hear his confidence come through in some of the most intense songs.
To summarise this does feel like a collection of Shikari styles which will both please and annoy fans. For me I found it a pleasant surprise and came at a time where we all needed a pick up. Shikari have always managed to blend genres of music and this is an album showcasing their talent to do just that, even managing to tackle classical. As for it being the definitive album I would have to agree with Rou with it being an album that manages to make me reminisce and look forward to the future.
Thanks for reading and I hope you enjoy the album. Stay safe.
Steve
Emma @ The Movies (1786 KP) rated Valerian and the City of a Thousand Planets (2017) in Movies
Sep 25, 2019
The story of Valerian is a good one. We open on Mül, a idyllic place of peace and a simple life. But this peace is shattered when fire rains from the sky devastating the entire planet. The last moment of Mül sees the Princess, doomed to die in the explosion, release her energy into the universe, through time and space.
Valerian, sunning himself on his ship, is hit with a sudden vision of the cataclysm on Mül. Unsure about it's meaning he goes back to the task at hand, retrieving a relic from some disreputable people on the black market. The "converter" is the last of it's kind in the universe, it will eat anything and rapidly replicate it, and as such is a very valuable commodity.
The mission is to return the converter to Alpha station. But when they arrive they discover that the station has been infected with something right at its heart. It's spreading, and all those that enter do not come back. When events lead to Valerian being drawn into the infected area, Laureline isn't willing to give up hope, and she battles her way in. Once she's reunited with Valerian they work travel to the centre of the station and discover the shocking truth about how the infection began...
The film is based on Valerian and Laureline, a French sci-fi comic series written by Pierre Christin and illustrated by Jean-Claude Mézières. I have got the first one to read, but as is my tradition, I have yet to do so. The first one is available free on Kindle at the moment if anybody is that way inclined. I expect that it will get a much better reaction in Europe than it seem to have done in the States, which is a bit of a shame. Possibly the way to go would have been with bigger stars, but *shrugs shoulders* it's too late now.
As I said, the story itself is a good one, and while people are nit picking and saying there are plot holes... there aren't if you don't look for them. I have this horrible ability to just watch a film for what it is, if you just go and see something to have some fun you don't notice any of that. It's a horribly nice way to be able to live my life, I enjoy a lot more things that way.
What I'm about to say is going to contradict my overall feeling for the film... I didn't really enjoy Dane DeHaan or Cara Delevingne. I had originally thought that I hadn't seen DeHaan in anything before, but was soon getting recollections of The Amazing Spider-Man 2. Scrolling through Delevingne's few years of films I've only seen Suicide Squad, and her acting as a "real person" is quite a small piece in that. While I can't think of anyone who would have perfectly suited either role, I feel like many other actors could have done an equal, or better, performance.
You get a wonderful introduction to what the station is, and has become. And we're treated to the potted history of alien species, several of which would sit quite nicely in the Whoniverse. I'm quite looking forward to reading the graphic novel. I can see stories unfolding in the different sections of the station, and that works. It almost feels like it would have made an amazing TV series, because it is essentially Star Trek with glitzier aliens and ecosystems.
As far as the secondary characters go we're treated to several memorable moments. Including Ethan Hawke as Jolly the Pimp, which is as flamboyant as you'd expect. Clive Owen as Commander Filitt, stern and ruthless, the sort who would stab you in the back (or the front) for his own gain. Sam Spruell as General Okto-Bar, who acted his part incredibly well... I'm honestly surprised I've not seen any of the other things he's been in, but I will be checking them out. Rihanna as Bubble, I'm a little surprised about how much I heard about her being in this considering how short her role is. But the same is true of a few things I've seen recently. We first meet her at Jolly's den of iniquity, where the music video training definitely came in handy.
As a whole the film moves along smoothly, with only a few little bits that seemed like they didn't belong, or could have been cut out. Unlike other films though, these little additions didn't harm the overall product.
Here is where my love for the film takes a steep nose-drive. Imagine crying with joy to resting bitch-face in the space of a few seconds. The 3D was hideous. I can't even think of a nice thing to say about it.
When the scenes were general crowd shots or indoors, everything was fine... although these shots didn't really benefit from the effect. The exterior shots however, in my not so expert opinion, were a terrible idea. I found some of them actually painful to watch, particularly long range shots of Alpha with ships coming in to dock. It was near on impossible to deal with the perspective as there was so much happening. For the last half of the film I took my 3D glasses off every time these shots appeared on screen as my head was rapidly starting to hurt, and I wasn't the only one having trouble.
If it wasn't for the painful exterior shots I honestly would have forgotten I was watching the film in 3D. Unlike other 3D films, you weren't aware that things were coming out of the screen at you. Not once.
I really don't want to be so negative about this film, it was an enjoyable watch (without the optical illusion created by the 3D). I would recommend it to anyone who has a passing interest in sci-fi and adaptations of comics. And I feel like, if nothing else, it might get the graphic novels themselves more circulation outside of Europe.
But please... watch it in 2D.
Valerian, sunning himself on his ship, is hit with a sudden vision of the cataclysm on Mül. Unsure about it's meaning he goes back to the task at hand, retrieving a relic from some disreputable people on the black market. The "converter" is the last of it's kind in the universe, it will eat anything and rapidly replicate it, and as such is a very valuable commodity.
The mission is to return the converter to Alpha station. But when they arrive they discover that the station has been infected with something right at its heart. It's spreading, and all those that enter do not come back. When events lead to Valerian being drawn into the infected area, Laureline isn't willing to give up hope, and she battles her way in. Once she's reunited with Valerian they work travel to the centre of the station and discover the shocking truth about how the infection began...
The film is based on Valerian and Laureline, a French sci-fi comic series written by Pierre Christin and illustrated by Jean-Claude Mézières. I have got the first one to read, but as is my tradition, I have yet to do so. The first one is available free on Kindle at the moment if anybody is that way inclined. I expect that it will get a much better reaction in Europe than it seem to have done in the States, which is a bit of a shame. Possibly the way to go would have been with bigger stars, but *shrugs shoulders* it's too late now.
As I said, the story itself is a good one, and while people are nit picking and saying there are plot holes... there aren't if you don't look for them. I have this horrible ability to just watch a film for what it is, if you just go and see something to have some fun you don't notice any of that. It's a horribly nice way to be able to live my life, I enjoy a lot more things that way.
What I'm about to say is going to contradict my overall feeling for the film... I didn't really enjoy Dane DeHaan or Cara Delevingne. I had originally thought that I hadn't seen DeHaan in anything before, but was soon getting recollections of The Amazing Spider-Man 2. Scrolling through Delevingne's few years of films I've only seen Suicide Squad, and her acting as a "real person" is quite a small piece in that. While I can't think of anyone who would have perfectly suited either role, I feel like many other actors could have done an equal, or better, performance.
You get a wonderful introduction to what the station is, and has become. And we're treated to the potted history of alien species, several of which would sit quite nicely in the Whoniverse. I'm quite looking forward to reading the graphic novel. I can see stories unfolding in the different sections of the station, and that works. It almost feels like it would have made an amazing TV series, because it is essentially Star Trek with glitzier aliens and ecosystems.
As far as the secondary characters go we're treated to several memorable moments. Including Ethan Hawke as Jolly the Pimp, which is as flamboyant as you'd expect. Clive Owen as Commander Filitt, stern and ruthless, the sort who would stab you in the back (or the front) for his own gain. Sam Spruell as General Okto-Bar, who acted his part incredibly well... I'm honestly surprised I've not seen any of the other things he's been in, but I will be checking them out. Rihanna as Bubble, I'm a little surprised about how much I heard about her being in this considering how short her role is. But the same is true of a few things I've seen recently. We first meet her at Jolly's den of iniquity, where the music video training definitely came in handy.
As a whole the film moves along smoothly, with only a few little bits that seemed like they didn't belong, or could have been cut out. Unlike other films though, these little additions didn't harm the overall product.
Here is where my love for the film takes a steep nose-drive. Imagine crying with joy to resting bitch-face in the space of a few seconds. The 3D was hideous. I can't even think of a nice thing to say about it.
When the scenes were general crowd shots or indoors, everything was fine... although these shots didn't really benefit from the effect. The exterior shots however, in my not so expert opinion, were a terrible idea. I found some of them actually painful to watch, particularly long range shots of Alpha with ships coming in to dock. It was near on impossible to deal with the perspective as there was so much happening. For the last half of the film I took my 3D glasses off every time these shots appeared on screen as my head was rapidly starting to hurt, and I wasn't the only one having trouble.
If it wasn't for the painful exterior shots I honestly would have forgotten I was watching the film in 3D. Unlike other 3D films, you weren't aware that things were coming out of the screen at you. Not once.
I really don't want to be so negative about this film, it was an enjoyable watch (without the optical illusion created by the 3D). I would recommend it to anyone who has a passing interest in sci-fi and adaptations of comics. And I feel like, if nothing else, it might get the graphic novels themselves more circulation outside of Europe.
But please... watch it in 2D.
Gareth von Kallenbach (965 KP) rated Toni Erdmann (2016) in Movies
Jul 12, 2019
Well Now! *over exaggerated sigh of relief* After my first movie review of the year it is a suspicious coincidence as well as a welcome relief, that I have the incredibly good fortune to bring you the review of a movie that is not only good but it’s original, sometimes confusing, weird, downright funny, and German. Hey, sometimes when you are disappointed with a domestic film it’s best to look at a foreign film. That ‘strategy’ applies to any movie viewer in any country I can assure you. Today’s film for your consideration is already making waves and winning awards in Germany, Europe, and around the world. It’s making such a significant fuss that as of February 7th, its confirmed that Jack Nicholson is coming out of self-imposed retirement to portray the lead in an American remake of the movie!
‘Toni Erdmann’ is an Austrian-German dramatic comedy written, directed, and co-produced by Maren Abe. The film stars famed Austrian actor Peter Simonischek as Winfried Conradi (the character was based on the directors father a purported prankster) a divorced music teacher and father whose considered by his family, friends, and students to be a hippie. He has the reputation of being a prankster and is notorious for playing practical jokes. He is estranged from his daughter Ines (Sandra Huller). An ambitious business woman working for a company in Romania. They rarely speak except for family gatherings at which Ines is usually on her phone conducting business and actually spends little time with the family. Her father in particular. The only friendship Winfried has is with his blind and deaf dog. One night, after a family gathering and paying a visit to his mother, Winfried falls asleep in his front yard only to wake up and find that his beloved dog has passed away during the night. Feeling lost and dwelling on the past, he travels to Bucharest where his daughter currently consults for an oil company. He finds the office complex where she is based and waits in the lobby for several hours. Finally, he catches a glimpse of Ines walking through the lobby with several board members of her client’s company and sneaks up behind them wearing sunglasses and his trademarked fake teeth while pretending to read a newspaper. Ines notices but completely ignores Winfried. Despite the failure of his practical joke, Ines contacts her father and invites him to a reception at the American embassy in Bucharest where they have a chance encounter with the CEO of a German oil company Mr. Henneberg with whom Ines has been desperately trying arrange business dealings with. While paying little attention to Ines, ironically Henneberg begins a conversation with Winfried in which he casually and jokingly mentioned that he has hired a replacement daughter because Ines is always so busy. Much to the surprise of both, Henneberg invites Ines and her father to join him and his entourage for drinks at a trendy bar where he continues to brush off Ines but only after sharing Winfried’s joke with his colleagues.
Ines is so absorbed in her work she seems to only tolerate her father’s presence and after a few days, Winfried decides to leave feeling alienated as though he’s getting in the way of his daughter’s life. A few days later, Ines and two of her friends are out having drinks when Winfried appears at the bar. Wearing a wig and his trademark false teeth he chimes in on the conversation between his daughter and her friends and comically introduces himself as ‘Toni Erdmann’ a consultant and life coach. Ines two friends continue to converse with him trying their best not to laugh while Winfried continues to ‘enhance’ his character much to the dismay of Ines.
Meanwhile, Ines day-to-Day work routine becomes more frustrating as she seems to be going nowhere with her career despite her best efforts. Becoming almost amused with her father’s character, Ines decides to play along with the character and even invites ‘Erdmann’ to spend time with her at work and with her friends and later even to a business meeting. Strangely enough, the ‘Erdmann’ character created by her father has become a strange and hilarious means of bonding with her father leading to one misadventure after another in which she decides she no longer cares about her current state of being and proceeds to alienate her boss and her colleagues and a way that’s reminiscent of her father’s ‘prankster tendencies’.
This film did not disappoint. It’s funny, it’s shocking, it’s awkward at some points. Most importantly, it’s original. It flys in the face of routine and redundancy and like many great films implies that in the end, the most important thing is family. When worse comes to worse family might not always get you out of trouble but they will certainly provide the catalyst for an escape from the hum drum of whatever is eating at your life.
‘Toni Erdmann’ has already been nominated for ‘Best Film Of The Year’ by critics in several countries including France and England. It premiered at the Cannes film festival last year in the ‘Un Certain Regard’ category of the film festival but the night before its premiere, the judges and critics gave it such praise it was immediately added to the more prestigious ‘Palme d’Or’ category and went on to receive high praise at its premiere. It has already won 20 awards in serval countries with many more awards pending. I’m calling this film 4 out of 5 stars. The film clocks in at 162 minutes. A bit long on the tooth for running time but DO NOT let that discourage you from seeing the film. Do yourself a favor and check out ‘Toni Erdmann’ now and see the original in all it’s hilarious glory. As I mentioned earlier, it’s been confirmed that Jack Nicholson is coming out of retirement to portray the lead in the American remake. This film is totally something you would’ve seen Mr. Nicholson doing early in his career back when he was just getting started as an actor. Even with this in mind someone somewhere along the line could still screw it up.
‘Toni Erdmann’ is an Austrian-German dramatic comedy written, directed, and co-produced by Maren Abe. The film stars famed Austrian actor Peter Simonischek as Winfried Conradi (the character was based on the directors father a purported prankster) a divorced music teacher and father whose considered by his family, friends, and students to be a hippie. He has the reputation of being a prankster and is notorious for playing practical jokes. He is estranged from his daughter Ines (Sandra Huller). An ambitious business woman working for a company in Romania. They rarely speak except for family gatherings at which Ines is usually on her phone conducting business and actually spends little time with the family. Her father in particular. The only friendship Winfried has is with his blind and deaf dog. One night, after a family gathering and paying a visit to his mother, Winfried falls asleep in his front yard only to wake up and find that his beloved dog has passed away during the night. Feeling lost and dwelling on the past, he travels to Bucharest where his daughter currently consults for an oil company. He finds the office complex where she is based and waits in the lobby for several hours. Finally, he catches a glimpse of Ines walking through the lobby with several board members of her client’s company and sneaks up behind them wearing sunglasses and his trademarked fake teeth while pretending to read a newspaper. Ines notices but completely ignores Winfried. Despite the failure of his practical joke, Ines contacts her father and invites him to a reception at the American embassy in Bucharest where they have a chance encounter with the CEO of a German oil company Mr. Henneberg with whom Ines has been desperately trying arrange business dealings with. While paying little attention to Ines, ironically Henneberg begins a conversation with Winfried in which he casually and jokingly mentioned that he has hired a replacement daughter because Ines is always so busy. Much to the surprise of both, Henneberg invites Ines and her father to join him and his entourage for drinks at a trendy bar where he continues to brush off Ines but only after sharing Winfried’s joke with his colleagues.
Ines is so absorbed in her work she seems to only tolerate her father’s presence and after a few days, Winfried decides to leave feeling alienated as though he’s getting in the way of his daughter’s life. A few days later, Ines and two of her friends are out having drinks when Winfried appears at the bar. Wearing a wig and his trademark false teeth he chimes in on the conversation between his daughter and her friends and comically introduces himself as ‘Toni Erdmann’ a consultant and life coach. Ines two friends continue to converse with him trying their best not to laugh while Winfried continues to ‘enhance’ his character much to the dismay of Ines.
Meanwhile, Ines day-to-Day work routine becomes more frustrating as she seems to be going nowhere with her career despite her best efforts. Becoming almost amused with her father’s character, Ines decides to play along with the character and even invites ‘Erdmann’ to spend time with her at work and with her friends and later even to a business meeting. Strangely enough, the ‘Erdmann’ character created by her father has become a strange and hilarious means of bonding with her father leading to one misadventure after another in which she decides she no longer cares about her current state of being and proceeds to alienate her boss and her colleagues and a way that’s reminiscent of her father’s ‘prankster tendencies’.
This film did not disappoint. It’s funny, it’s shocking, it’s awkward at some points. Most importantly, it’s original. It flys in the face of routine and redundancy and like many great films implies that in the end, the most important thing is family. When worse comes to worse family might not always get you out of trouble but they will certainly provide the catalyst for an escape from the hum drum of whatever is eating at your life.
‘Toni Erdmann’ has already been nominated for ‘Best Film Of The Year’ by critics in several countries including France and England. It premiered at the Cannes film festival last year in the ‘Un Certain Regard’ category of the film festival but the night before its premiere, the judges and critics gave it such praise it was immediately added to the more prestigious ‘Palme d’Or’ category and went on to receive high praise at its premiere. It has already won 20 awards in serval countries with many more awards pending. I’m calling this film 4 out of 5 stars. The film clocks in at 162 minutes. A bit long on the tooth for running time but DO NOT let that discourage you from seeing the film. Do yourself a favor and check out ‘Toni Erdmann’ now and see the original in all it’s hilarious glory. As I mentioned earlier, it’s been confirmed that Jack Nicholson is coming out of retirement to portray the lead in the American remake. This film is totally something you would’ve seen Mr. Nicholson doing early in his career back when he was just getting started as an actor. Even with this in mind someone somewhere along the line could still screw it up.
Ivana A. | Diary of Difference (1171 KP) rated Daisy's Vintage Cornish Camper Van in Books
Aug 3, 2020
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Daisy's Vintage Cornish Camper Van by Ali McNamara is exactly the book I thought I needed to put me in a better mood!
When Ana inherits a camper van from her best friend, she needs to go to Cornwall to get it. A nice sea air and fish and chips are enver a bad choice.
But when she arrives, she realises that the camper van is in a much worse state than she imagined. The fixing will take longer than she anticipated. On top of this, Ana finds a series of unsent postcards dating back to the 1940s, hidden in the van. This is a sign and Ana wants to make sure the postcards are delivered.
And while the camper van is restored and Ana is helping other people be happy, she may eventually notice she is finding her way back to happiness again.
<b><i>My Thoughts:</i></b>
Daisy's Vintage Cornish Camper Van got my attention from the moment I saw that beautiful cover. Then, I read the synopsis and I was sold.
For me, both camper vans and postcards have a big importance in my life. I have always wanted to have a camper van and be able to go on a road trips and experience that freedom. Even though I was lucky to be able to travel the world, it is never enough.
<b><i>"Yes, there's definitely something about a camper van that makes people smile. They're a happy vehicle, so people enjoy seeing them as much as their owners enjoy driving them."</i></b>
And postcards were always a way to travel without living my home. Get to meet other places and cultures, meet other people. It is extraordinary how many things I have learned about the world and the people from other countries just by reading their postcards.
<b><i>"Deltiology - it's the name for the study and collection of postcards. It comes from the Greek word deltios, which means "writing tablet" or "letter"."</i></b>
Ana is working in London, busy in her day-to-day job. When her best friend Daisy dies, she is completely lost. Daisy was everything she had, and now she is gone. When she inherits this van, Ana is eager to pick the van up and return to her normal London routine. She is not really a fan of travel, camper vans or camping. But Daisy was, and if she wanted for Ana to have this van and that was her last wish, this is the least Ana can do for her.
<b><i>"These old vehicles are very sensitive - especially camper vans. They're the worst, very temperamental they can be."</i></b>
Throughout her stay, Ana meets Malachi, the mechanic, who sold the van to Daisy and who will help Ana restore it. He is a very interesting character with an interesting point of view on life.
He was my favourite character in the book.
<b><i>"People pay a lot of money these days to find themselves. They're not really finding themselves, they're finding a version of themselves they feel happy to be for a while."
"We all change through our lives, and what you're happy to be when you're twenty is unlikely to be what you're happy being when you're older."</i></b>
Malachi also has a camper van himself. He always tells Ana why camper vans are amazing. If you are a fan of camper van, this book will be a favourite by default.
<b><i>"But... you'd be mad not to at least try camping in her. It's a wonderful experience. You can drive where you like, set up camp and cook your dinner in the open air, even bed down under the stars if you're lucky. The freedom is amazing."</i></b>
I loved everything about this book. The story was beautiful. All the characters were likeable and real. They all had their stories and points of development. It was nice to see Ana finally healing and learning to be happy again. Malachi's story was beautiful and it was the perfect closure to his mission. Noah's personal story was also heartwarming, as he learns to accept what happened in the past and be able to move on. I also really want to talk about the mystery couple from the postcards, but I won't, in fear that I will spoil anything. But the development on that story was amazing and it helped Ana in many ways to heal herself, which was magical!
<b><i>"If something is worth doing, Ana - I hear one of her favourite sayings echo in my ears - it's worth doing well."</i></b>
To summarize - Daisy's Vintage Cornish Camper Van is my new favorite!
Beautiful and heartwarming. It will make you want to go on a road trip. I definitely recommend Daisy's Vintage Cornish Camper Van. And as with every book, I love learning random things, and here are some things I learned:
<b><i>"Did you know the phrase "dilly-dally" is commonly attributed to the English music hall singer Marie Lloyd, but was actually in use much earlier than her 1918 song, as far back as the seventeenth century?"
"A Splitty. It's what we call a split screen camper van. All pre-1967 camper vans have a windscreen split in two. After that the new models all had the solid bay windows."</i></b>
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Daisy's Vintage Cornish Camper Van by Ali McNamara is exactly the book I thought I needed to put me in a better mood!
When Ana inherits a camper van from her best friend, she needs to go to Cornwall to get it. A nice sea air and fish and chips are enver a bad choice.
But when she arrives, she realises that the camper van is in a much worse state than she imagined. The fixing will take longer than she anticipated. On top of this, Ana finds a series of unsent postcards dating back to the 1940s, hidden in the van. This is a sign and Ana wants to make sure the postcards are delivered.
And while the camper van is restored and Ana is helping other people be happy, she may eventually notice she is finding her way back to happiness again.
<b><i>My Thoughts:</i></b>
Daisy's Vintage Cornish Camper Van got my attention from the moment I saw that beautiful cover. Then, I read the synopsis and I was sold.
For me, both camper vans and postcards have a big importance in my life. I have always wanted to have a camper van and be able to go on a road trips and experience that freedom. Even though I was lucky to be able to travel the world, it is never enough.
<b><i>"Yes, there's definitely something about a camper van that makes people smile. They're a happy vehicle, so people enjoy seeing them as much as their owners enjoy driving them."</i></b>
And postcards were always a way to travel without living my home. Get to meet other places and cultures, meet other people. It is extraordinary how many things I have learned about the world and the people from other countries just by reading their postcards.
<b><i>"Deltiology - it's the name for the study and collection of postcards. It comes from the Greek word deltios, which means "writing tablet" or "letter"."</i></b>
Ana is working in London, busy in her day-to-day job. When her best friend Daisy dies, she is completely lost. Daisy was everything she had, and now she is gone. When she inherits this van, Ana is eager to pick the van up and return to her normal London routine. She is not really a fan of travel, camper vans or camping. But Daisy was, and if she wanted for Ana to have this van and that was her last wish, this is the least Ana can do for her.
<b><i>"These old vehicles are very sensitive - especially camper vans. They're the worst, very temperamental they can be."</i></b>
Throughout her stay, Ana meets Malachi, the mechanic, who sold the van to Daisy and who will help Ana restore it. He is a very interesting character with an interesting point of view on life.
He was my favourite character in the book.
<b><i>"People pay a lot of money these days to find themselves. They're not really finding themselves, they're finding a version of themselves they feel happy to be for a while."
"We all change through our lives, and what you're happy to be when you're twenty is unlikely to be what you're happy being when you're older."</i></b>
Malachi also has a camper van himself. He always tells Ana why camper vans are amazing. If you are a fan of camper van, this book will be a favourite by default.
<b><i>"But... you'd be mad not to at least try camping in her. It's a wonderful experience. You can drive where you like, set up camp and cook your dinner in the open air, even bed down under the stars if you're lucky. The freedom is amazing."</i></b>
I loved everything about this book. The story was beautiful. All the characters were likeable and real. They all had their stories and points of development. It was nice to see Ana finally healing and learning to be happy again. Malachi's story was beautiful and it was the perfect closure to his mission. Noah's personal story was also heartwarming, as he learns to accept what happened in the past and be able to move on. I also really want to talk about the mystery couple from the postcards, but I won't, in fear that I will spoil anything. But the development on that story was amazing and it helped Ana in many ways to heal herself, which was magical!
<b><i>"If something is worth doing, Ana - I hear one of her favourite sayings echo in my ears - it's worth doing well."</i></b>
To summarize - Daisy's Vintage Cornish Camper Van is my new favorite!
Beautiful and heartwarming. It will make you want to go on a road trip. I definitely recommend Daisy's Vintage Cornish Camper Van. And as with every book, I love learning random things, and here are some things I learned:
<b><i>"Did you know the phrase "dilly-dally" is commonly attributed to the English music hall singer Marie Lloyd, but was actually in use much earlier than her 1918 song, as far back as the seventeenth century?"
"A Splitty. It's what we call a split screen camper van. All pre-1967 camper vans have a windscreen split in two. After that the new models all had the solid bay windows."</i></b>
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Bob Mann (459 KP) rated Avengers: Endgame (2019) in Movies
Sep 28, 2021
The final curtain.
So… thanks again to work and family commitments, I’ve spent 7 days dodging social media to arrive at my showing of “Endgame” spoiler free… and was successful in doing so! It is of course impossible to write just about anything on this film without dropping spoilers. So I will keep this first part of the review short, but add some footnotes (indexed with <#> symbols) to a “spoiler section” below the trailer video. Proceed at your peril if you haven’t yet seen it!
The Plot
The MCU has delivered an impressively well-connected movie series. In the case of Thanos, this is a story-arc that started in the mid-credit “monkey” at the end of 2012’s “The Avengers” and, at the conclusion of “Avengers: Infinity War”, saw half the universe’s population drift away – Voldemort-style – into grey ash. This, of course, also wiped out half of our heroes (good trivia question for future years: who was the first we saw drift away? Answer below* ). This included Spider-Man (Tom Holland); Dr Strange (Benedict Cumberbatch); Black Panther (Chadwick Boseman); Nick Fury (Samuel L. Jackson); half of the remaining Guardians; The Wasp (Evangeline Lilly) and Dr Pym (Michael Douglas). Oblivious to all of this is Ant Man (Paul Rudd), still stranded in the ‘quantum realm’ following the demise of his colleagues, and with no one to flick the ‘return’ switch.
After some early action, Endgame’s story revolves around a desperate attempt by the remaining Avengers, led by Black Widow (Scarlett Johansson) and a ‘retired’ Tony Stark (Robert Downey Jnr) to undo the undoable. Can they succeed against all the odds? (With a new Spider-Man film due out in the summer, I’ll give you a guess!). Of more relevance perhaps is whether the team can stay unscathed from their encounter with the scheming and massively powerful Thanos (Josh Brolin)?
Thoughtful
The film will not be to every fan’s taste. After the virtually non-stop rip-roaring action of “Infinity War”, “Endgame” takes a far more contemplative approach to its first hour.
The film starts with a devastating prologue, and a great lesson in statistics: that you need a decent sized population to guarantee getting a 50:50 split! There is also a very surprising twist in the first 15 minutes or so that I didn’t see coming AT ALL.
But then things settle down into a far more sombre section of the film: short on action; long on character development. The world is grieving for its loss, unable to move on past the non-stop counselling sessions that everyone is getting. This first hour was, for me, by far, my favourite part of the film. Seeing how the characters we know and love have been impacted – some for better rather than for worse – was terrific. Mark Ruffalo’s Hulk (with a rather glib plot-point) takes on an hilarious new aspect; and Chris Hemsworth adds hugely comedic value as Thor, setting up in Scotland a “New Asgard” settlement in uncharacteristically laid-back fashion.
Cast
As an ensemble cast, everyone plays their parts extremely well. But it is just the breadth of the cast that astounds in this film: just about everyone who is anyone in the Marvel Universe – at least, those who are still alive (alive!) and not dead (dead!) – pop up for an appearance! This is great fun with, in one particular case, the opportunity to try some more rejuvenation of an old timer as previously done with Samuel L. Jackson in “Captain Marvel”.
Inevitably, some of these appearances are overly brief, and characters that I wanted to see developed more in this film (particularly Brie Larson’s Captain Marvel) get very little screen time. Drax (Dave Bautista) and Mantis (Pom Klementieff) barely get a single line each. So it will depend on where your loyalties lie as to whether you are satisfied with the coverage or not. (I personally find Chris Evans‘ Captain America a bit of a po-faced bore, so I wasn’t keen on the amount of screen time he had).
Stan Lee again gets another cameo in the bag before his demise: will this actually be his last live one?
Overall view
I enjoyed this movie. It could obviously NEVER live up to the over-hyped expectations of the fan base. But as a cinematic spectacle, for me, it delivered on its billing as a blockbuster finale, but one filled with a degree of nuance I was not expecting. The problem with the way that the plot have been structured (no spoilers – <#>) is that it is easy to pick holes in the storyline. Indeed, some dramatic options (that to me seemed obvious ones to ‘mine’) were left ‘unmined’ <##>; others were left inexplicably hanging <###>.
I suspect the reason for some of this is that the initial cut of this film probably ran to 5 hours rather than the – still bladder-testing – 3 hours as released. There were probably a bunch of scenes left on the cutting room floor that might allow things to make more sense in the extended BluRay release.
It’s at times slow, but for me never dull. It does suffer from one significant flaw though: the “Return of the King” disease. It doesn’t know when to quit. There was a natural MCU arc to follow and a perfect time at which to end it: but the directors (the Russo Brothers, Anthony Russo and Joe Russo) kept adding additional scenes that detracted from the natural ending <####>.
Above all, unlike I think all but one film in MCU history, there is NO “MONKEY” in the end credits: either mid-credit or end-credit! So, after the long title crawl (and some rather odd choices for end-title music by Alan Silvestri), if you are not to look bloody stupid as the lights come up, and face a storm of derision from your partner, then leave after the dramatic roll-call sequence of the film’s stars!
(*BTW, the answer to the trivia question is, I believe, Bucky.)
So… thanks again to work and family commitments, I’ve spent 7 days dodging social media to arrive at my showing of “Endgame” spoiler free… and was successful in doing so! It is of course impossible to write just about anything on this film without dropping spoilers. So I will keep this first part of the review short, but add some footnotes (indexed with <#> symbols) to a “spoiler section” below the trailer video. Proceed at your peril if you haven’t yet seen it!
The Plot
The MCU has delivered an impressively well-connected movie series. In the case of Thanos, this is a story-arc that started in the mid-credit “monkey” at the end of 2012’s “The Avengers” and, at the conclusion of “Avengers: Infinity War”, saw half the universe’s population drift away – Voldemort-style – into grey ash. This, of course, also wiped out half of our heroes (good trivia question for future years: who was the first we saw drift away? Answer below* ). This included Spider-Man (Tom Holland); Dr Strange (Benedict Cumberbatch); Black Panther (Chadwick Boseman); Nick Fury (Samuel L. Jackson); half of the remaining Guardians; The Wasp (Evangeline Lilly) and Dr Pym (Michael Douglas). Oblivious to all of this is Ant Man (Paul Rudd), still stranded in the ‘quantum realm’ following the demise of his colleagues, and with no one to flick the ‘return’ switch.
After some early action, Endgame’s story revolves around a desperate attempt by the remaining Avengers, led by Black Widow (Scarlett Johansson) and a ‘retired’ Tony Stark (Robert Downey Jnr) to undo the undoable. Can they succeed against all the odds? (With a new Spider-Man film due out in the summer, I’ll give you a guess!). Of more relevance perhaps is whether the team can stay unscathed from their encounter with the scheming and massively powerful Thanos (Josh Brolin)?
Thoughtful
The film will not be to every fan’s taste. After the virtually non-stop rip-roaring action of “Infinity War”, “Endgame” takes a far more contemplative approach to its first hour.
The film starts with a devastating prologue, and a great lesson in statistics: that you need a decent sized population to guarantee getting a 50:50 split! There is also a very surprising twist in the first 15 minutes or so that I didn’t see coming AT ALL.
But then things settle down into a far more sombre section of the film: short on action; long on character development. The world is grieving for its loss, unable to move on past the non-stop counselling sessions that everyone is getting. This first hour was, for me, by far, my favourite part of the film. Seeing how the characters we know and love have been impacted – some for better rather than for worse – was terrific. Mark Ruffalo’s Hulk (with a rather glib plot-point) takes on an hilarious new aspect; and Chris Hemsworth adds hugely comedic value as Thor, setting up in Scotland a “New Asgard” settlement in uncharacteristically laid-back fashion.
Cast
As an ensemble cast, everyone plays their parts extremely well. But it is just the breadth of the cast that astounds in this film: just about everyone who is anyone in the Marvel Universe – at least, those who are still alive (alive!) and not dead (dead!) – pop up for an appearance! This is great fun with, in one particular case, the opportunity to try some more rejuvenation of an old timer as previously done with Samuel L. Jackson in “Captain Marvel”.
Inevitably, some of these appearances are overly brief, and characters that I wanted to see developed more in this film (particularly Brie Larson’s Captain Marvel) get very little screen time. Drax (Dave Bautista) and Mantis (Pom Klementieff) barely get a single line each. So it will depend on where your loyalties lie as to whether you are satisfied with the coverage or not. (I personally find Chris Evans‘ Captain America a bit of a po-faced bore, so I wasn’t keen on the amount of screen time he had).
Stan Lee again gets another cameo in the bag before his demise: will this actually be his last live one?
Overall view
I enjoyed this movie. It could obviously NEVER live up to the over-hyped expectations of the fan base. But as a cinematic spectacle, for me, it delivered on its billing as a blockbuster finale, but one filled with a degree of nuance I was not expecting. The problem with the way that the plot have been structured (no spoilers – <#>) is that it is easy to pick holes in the storyline. Indeed, some dramatic options (that to me seemed obvious ones to ‘mine’) were left ‘unmined’ <##>; others were left inexplicably hanging <###>.
I suspect the reason for some of this is that the initial cut of this film probably ran to 5 hours rather than the – still bladder-testing – 3 hours as released. There were probably a bunch of scenes left on the cutting room floor that might allow things to make more sense in the extended BluRay release.
It’s at times slow, but for me never dull. It does suffer from one significant flaw though: the “Return of the King” disease. It doesn’t know when to quit. There was a natural MCU arc to follow and a perfect time at which to end it: but the directors (the Russo Brothers, Anthony Russo and Joe Russo) kept adding additional scenes that detracted from the natural ending <####>.
Above all, unlike I think all but one film in MCU history, there is NO “MONKEY” in the end credits: either mid-credit or end-credit! So, after the long title crawl (and some rather odd choices for end-title music by Alan Silvestri), if you are not to look bloody stupid as the lights come up, and face a storm of derision from your partner, then leave after the dramatic roll-call sequence of the film’s stars!
(*BTW, the answer to the trivia question is, I believe, Bucky.)