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Gareth von Kallenbach (980 KP) rated AVP - Alien Vs. Predator (2004) in Movies
Aug 14, 2019
For over a decade fans of the “Alien” and “Predator” films series have been tempted by various rumors regarding a proposed film that would match the two titans in an epic onscreen clash to determine who is the ultimate Sci-Fi bad guy.
Sadly none of the rumors panned out as one script after another was rejected ranging from issues over proposed budgets in excess of $200 million to lack of a human character dynamic. Fans continued to follow the series in the only ways that they could, comics, books, and games all the while hoping that someday a film would come.
Thankfully the wait is over as “Alien VS Predator” has come to fruition under the guidance of writer/director Paul Anderson who has an impressive science fiction track record with “Event Horizon” and “Resident Evil” amongst his credits. While some fans debated if Anderson was the right person for the project, few can dispute his passion for the series.
The film stars Lance Henriksen as Billionaire Charles Weyland, who discovers a large pyramid beneath the ice in Antarctica thanks to one of his satellites. Knowing that this could be the find of a lifetime, Weyland assembles a team of drillers, archeologists, climbers, and support personal and rushes to the harsh location to investigate the location before any other interested parties can discover his find and claim it for themselves.
Upon arriving at the location, the team discovers a massive pyramid that shows connections to all of the other pyramids on earth causing the team to believe that they have proof that the pyramids of earth were influenced by an outside culture whom the natives worshipped.
The presence of human remains in a sacrificial chamber only helps to strengthen this belief and the team continues to explore the pyramid to see what other grand treasures lay within. Upon arrival, the team has unknowingly awakened a captive alien queen from stasis and long dormant machines awaken and begin harvesting the eggs from the captive queen, Each egg is filled with a deadly face hugger that will not only kill the host it attaches itself to, but will produce an alien who is as deadly as it is relentless.
As if this was not bad enough for the team, a ship enters earth orbit and a landing craft of young predator males hurries to the pyramid. The predators are aware of the human’s presence and arrive ready for battle. It is learned that the predators use the aliens as a coming of age ritual as they are very deadly and seen as a worthy test of a young males worth.
Before long, the humans are caught in nightmare come to life as Weyland, his guide Lex (Sanaa Lathan), and the rest of the team are caught in the middle of a deadly battle between the aliens and predators with death and destruction all around them. The team has no idea what the creatures are, but they know that they are very deadly and their dwindling numbers only underscores this fact and their need to escape from the pyramid, which has become like a gigantic puzzle as it is constantly reconfiguring itself causing passages that were once wide open to become blocked.
To compound the peril of the situation, the team is 2000 ft below the ice and a storm is raging on the surface making the escape and elements as deadly as the bizarre creatures.
“AVP” combines the old-fashioned monster and haunted house movies of old to create a thrilling blend of action and Science fiction that is sure to delight fans. My biggest fault with the film was that it was not long enough as the 100 minute running time passed quickly and I was left wanting even more as good as the action sequences were I had hoped that there would be more of them. The film is also light on scares and tension as Anderson seems to have decided that the audience for this film would know about the title creatures already so time did not need to be spent on reintroductions.
The action sequences in the film are solid and they had the audience in my press screener cheering loudly and often as the two cinematic titans waged war. The pacing of the film is brisk and the lighting and visuals of the film are used well to create the atmosphere, I found the sequences were flashlights and laser sites probed the dark areas of the pyramid to be fascinating to watch as the eerie glow was appropriate to the mood of the film.
True the film does not have much in the way of complex plot, character development, or much for the cast to do other than be middlemen to the title creatures, but Anderson stays true to the source material and delivers a solid tale the largely protects the continuity of the “Alien” series and paves the way for future installments.
While some may find issue with the toned down nature of the films violence compared to others in the series, I found that I was still able to enjoy the film and I am sure a rematch between the title characters is something fans everywhere will be waiting for.
Sadly none of the rumors panned out as one script after another was rejected ranging from issues over proposed budgets in excess of $200 million to lack of a human character dynamic. Fans continued to follow the series in the only ways that they could, comics, books, and games all the while hoping that someday a film would come.
Thankfully the wait is over as “Alien VS Predator” has come to fruition under the guidance of writer/director Paul Anderson who has an impressive science fiction track record with “Event Horizon” and “Resident Evil” amongst his credits. While some fans debated if Anderson was the right person for the project, few can dispute his passion for the series.
The film stars Lance Henriksen as Billionaire Charles Weyland, who discovers a large pyramid beneath the ice in Antarctica thanks to one of his satellites. Knowing that this could be the find of a lifetime, Weyland assembles a team of drillers, archeologists, climbers, and support personal and rushes to the harsh location to investigate the location before any other interested parties can discover his find and claim it for themselves.
Upon arriving at the location, the team discovers a massive pyramid that shows connections to all of the other pyramids on earth causing the team to believe that they have proof that the pyramids of earth were influenced by an outside culture whom the natives worshipped.
The presence of human remains in a sacrificial chamber only helps to strengthen this belief and the team continues to explore the pyramid to see what other grand treasures lay within. Upon arrival, the team has unknowingly awakened a captive alien queen from stasis and long dormant machines awaken and begin harvesting the eggs from the captive queen, Each egg is filled with a deadly face hugger that will not only kill the host it attaches itself to, but will produce an alien who is as deadly as it is relentless.
As if this was not bad enough for the team, a ship enters earth orbit and a landing craft of young predator males hurries to the pyramid. The predators are aware of the human’s presence and arrive ready for battle. It is learned that the predators use the aliens as a coming of age ritual as they are very deadly and seen as a worthy test of a young males worth.
Before long, the humans are caught in nightmare come to life as Weyland, his guide Lex (Sanaa Lathan), and the rest of the team are caught in the middle of a deadly battle between the aliens and predators with death and destruction all around them. The team has no idea what the creatures are, but they know that they are very deadly and their dwindling numbers only underscores this fact and their need to escape from the pyramid, which has become like a gigantic puzzle as it is constantly reconfiguring itself causing passages that were once wide open to become blocked.
To compound the peril of the situation, the team is 2000 ft below the ice and a storm is raging on the surface making the escape and elements as deadly as the bizarre creatures.
“AVP” combines the old-fashioned monster and haunted house movies of old to create a thrilling blend of action and Science fiction that is sure to delight fans. My biggest fault with the film was that it was not long enough as the 100 minute running time passed quickly and I was left wanting even more as good as the action sequences were I had hoped that there would be more of them. The film is also light on scares and tension as Anderson seems to have decided that the audience for this film would know about the title creatures already so time did not need to be spent on reintroductions.
The action sequences in the film are solid and they had the audience in my press screener cheering loudly and often as the two cinematic titans waged war. The pacing of the film is brisk and the lighting and visuals of the film are used well to create the atmosphere, I found the sequences were flashlights and laser sites probed the dark areas of the pyramid to be fascinating to watch as the eerie glow was appropriate to the mood of the film.
True the film does not have much in the way of complex plot, character development, or much for the cast to do other than be middlemen to the title creatures, but Anderson stays true to the source material and delivers a solid tale the largely protects the continuity of the “Alien” series and paves the way for future installments.
While some may find issue with the toned down nature of the films violence compared to others in the series, I found that I was still able to enjoy the film and I am sure a rematch between the title characters is something fans everywhere will be waiting for.
Gareth von Kallenbach (980 KP) rated Loveless (2017) in Movies
Jul 8, 2019
Speaking as someone who grew up in the United States, prides themselves on having a vast and diverse movie library, and only leaves the confines of the greater Seattle-area on very rare occasions .. I’m the first to admit that there are times when I don’t fully appreciate the films produced in other countries. It’s amazing how different they can be based on even differences in other cultures. Take films made in Russia for example. Perhaps it’s the cold and bleakness of the country but Russian filmmakers are amongst the best when it comes to tragedies. I imagine it’s a ‘carry over’ in part from the great literary masterpieces to come out of that country. Not to give it all away right from the beginning but if you’re like me, you need to prepare yourself for a good tragedy and that’s exactly what the film is that is up for your consideration.
‘Loveless’ is a 2017 Russian tragedy from noted director Andrey Zvyaginstev and co-written by Zvyaginstev and Oleg Negin. As with Zvyaginstev’s 2014 tragedy ‘Leviathan’, ‘Loveless’ has quickly risen to critical acclaim and already won several accolades including the Jury Prize at 2017 Cannes Film Festival and was nominated for Best Foreign Language Film at the 90th Academy Awards.
‘Loveless’ stars Maryana Spivak, Aleksey Rozin, and Matvey Novikov. It’s the end of the day for 12 year-old Alexey (Novikov). He says farewell to the few friends he has at school and takes the long way home through the woods following a river on the outskirts of Moscow. It’s a cold, dreary afternoon yet it’s preferable to what awaits him at home. His parents Zhenya (Spivak) and Boris (Rozin) are separated and engaged in bitter divorce proceedings but to both, the marriage was over long ago. The only difference is now are that they are living separately and they’re also trying to shrug parental responsibilities off on one another. They seem to have no issue vocalizing their mutual belief that having Alexey was a mistake. Their only real concerns seem to be getting their son out of their lives so they can move on with their new spouses and each begin a whole new family obliterating any connection they ever had or made. All this in a country that that is engaged in a war against its own people and against the Ukraine. The destruction of a family with parents at war with one another leaving the child as the innocent victim.
Zhenya returns to her apartment after spending time with her new lover to find Alexey gone and messages from his school stating he had not been there in two days. She calls Boris in an attempt to locate Alexey and after another argument over the phone finally decides to call in the police. After starting to show the smallest amount of concern for Alexey and disgust over the low priority that the police are assigning their son’s case, Zhenya and Boris call in a special volunteer unit specializing in searching for missing persons. While the parents actively participate in searching for their son, they continue to fight and engage in hostilities towards one another showing such selfishness and a blatant disregard for their son’s well being that you begin to wonder how far they can take it.
Although the film isn’t my ‘normal cup of tea’, i’m going to give it 4 out of 5 stars Zvyaginstev has crafted another tragic masterpiece putting ‘Loveless’ almost on par with ‘Leviathan’. The film highlights the lack of empathy displayed by families in modern society. Although the film has a ‘predictability’ given Zvyaginstev’s past work it is beautifully shot and well written. Watching the downward spiral of the family in this film is almost like reading a piece sheet music. It’s ominous. It’s not just name calling and insults … it’s as though it’s being disassembled piece by piece which although dark and bleak is still quite intriguing. I’d personally recommend you catch it in an independent movie theater or a small art house theater. It’s a 2 hour movie so I’d recommend catching it at a small theater.
‘Loveless’ is a 2017 Russian tragedy from noted director Andrey Zvyaginstev and co-written by Zvyaginstev and Oleg Negin. As with Zvyaginstev’s 2014 tragedy ‘Leviathan’, ‘Loveless’ has quickly risen to critical acclaim and already won several accolades including the Jury Prize at 2017 Cannes Film Festival and was nominated for Best Foreign Language Film at the 90th Academy Awards.
‘Loveless’ stars Maryana Spivak, Aleksey Rozin, and Matvey Novikov. It’s the end of the day for 12 year-old Alexey (Novikov). He says farewell to the few friends he has at school and takes the long way home through the woods following a river on the outskirts of Moscow. It’s a cold, dreary afternoon yet it’s preferable to what awaits him at home. His parents Zhenya (Spivak) and Boris (Rozin) are separated and engaged in bitter divorce proceedings but to both, the marriage was over long ago. The only difference is now are that they are living separately and they’re also trying to shrug parental responsibilities off on one another. They seem to have no issue vocalizing their mutual belief that having Alexey was a mistake. Their only real concerns seem to be getting their son out of their lives so they can move on with their new spouses and each begin a whole new family obliterating any connection they ever had or made. All this in a country that that is engaged in a war against its own people and against the Ukraine. The destruction of a family with parents at war with one another leaving the child as the innocent victim.
Zhenya returns to her apartment after spending time with her new lover to find Alexey gone and messages from his school stating he had not been there in two days. She calls Boris in an attempt to locate Alexey and after another argument over the phone finally decides to call in the police. After starting to show the smallest amount of concern for Alexey and disgust over the low priority that the police are assigning their son’s case, Zhenya and Boris call in a special volunteer unit specializing in searching for missing persons. While the parents actively participate in searching for their son, they continue to fight and engage in hostilities towards one another showing such selfishness and a blatant disregard for their son’s well being that you begin to wonder how far they can take it.
Although the film isn’t my ‘normal cup of tea’, i’m going to give it 4 out of 5 stars Zvyaginstev has crafted another tragic masterpiece putting ‘Loveless’ almost on par with ‘Leviathan’. The film highlights the lack of empathy displayed by families in modern society. Although the film has a ‘predictability’ given Zvyaginstev’s past work it is beautifully shot and well written. Watching the downward spiral of the family in this film is almost like reading a piece sheet music. It’s ominous. It’s not just name calling and insults … it’s as though it’s being disassembled piece by piece which although dark and bleak is still quite intriguing. I’d personally recommend you catch it in an independent movie theater or a small art house theater. It’s a 2 hour movie so I’d recommend catching it at a small theater.
Heather Cranmer (2721 KP) rated Yeah, but I Didn't in Books
Feb 15, 2020
I love books that deal with some sort of downward spiral. I don't mean that in a morbid sense. I just mean that I usually find them interesting. When I was presented with the opportunity of reading Yeah, but I Didn't by Ann Swann, I jumped at the chance.
Benji Stevens is a bright 14 year old high school girl. In fact, she's so smart, she's even skipped a grade in school. When something horrible happens to her one day at her house, her life begins to spiral out of control. With bad things happening right after one another, will Benji find the light at the end of the tunnel or will it be too late?
The premise for Yeah, but I Didn't is really interesting. There were some great aspects of this book. In fact, after reading this book, my new life motto is now, "You can’t control how other people treat you. But you CAN control how you react. And that’s how you take back your power." I love that quote, and it's said a few times throughout Yeah, but I Didn't. I liked the theme of hope and forgiveness towards the end of the book as well. Ann Swann did a fantastic job with her descriptive language at making it easy to picture each scene in the book. I found myself being transported to the setting of Yeah, But I Didn't whenever I started reading.
The characters in Yeah, but I Didn't felt fairly realistic throughout the novel, though Benji's character seemed more like she was 12 with how she would speak and act sometimes. I liked Benji though, and I admired her determination to get through this horrible part of her life. I enjoyed reading about Benji's mom and how (in the last quarter of the book) she turns to God to help her with everything. (Though this was a sudden shift and was a little jarring. The story went from no real mention of God to suddenly focusing on how God can help you.) Janie was a well-written character, but I just wanted to shake that girl sometimes for being so spiteful and horrible to her mom and Benji especially! My favorite characters were Uncle Aidan and Dr Blue. They always came across as being optimistic and wanting to help Benji be the best version of herself. I will also say that each character is described very well, so it's easy to picture each one as a real life person instead of just some character in a book.
As much as I enjoyed the book, there were things that didn't work for me. I found the pacing to be a bit too slow for my liking, and I felt like there was too much narrative description through much of the book; I didn't need to know exact details of every little thing. I could have done without the mention of politics in this book; it didn't seem necessary. And a pet peeve: it's mentioned that Benji and her uncle they order chicken nuggets from Sonic. Sonic does not do chicken nuggets; they do chicken strips, popcorn chicken, and boneless wings -- but never chicken nuggets!
I also felt like, although this book is considered a young adult book and deals with some heavy subject matters, it felt like it was written for a middle grade audience.
Trigger warnings for Yeah, but I Didn't include alcoholism, suicide, attempted suicide, teenage pregnancy, some violence, and attempted rape.
While I found Yeah, but I Didn't to be a bit of a slow read mostly, I do think younger teens that who are going through a dark patch in their life would enjoy this. I would recommend Yeah, but I Didn't by Ann Swann to those 14+ who need a bit of hope in their life.
--
(A special thank you to Lone Star Literary Life for providing me with an eBook of Yeah, but I Didn't by Ann Swann in exchange for an honest and unbiased review.)
Benji Stevens is a bright 14 year old high school girl. In fact, she's so smart, she's even skipped a grade in school. When something horrible happens to her one day at her house, her life begins to spiral out of control. With bad things happening right after one another, will Benji find the light at the end of the tunnel or will it be too late?
The premise for Yeah, but I Didn't is really interesting. There were some great aspects of this book. In fact, after reading this book, my new life motto is now, "You can’t control how other people treat you. But you CAN control how you react. And that’s how you take back your power." I love that quote, and it's said a few times throughout Yeah, but I Didn't. I liked the theme of hope and forgiveness towards the end of the book as well. Ann Swann did a fantastic job with her descriptive language at making it easy to picture each scene in the book. I found myself being transported to the setting of Yeah, But I Didn't whenever I started reading.
The characters in Yeah, but I Didn't felt fairly realistic throughout the novel, though Benji's character seemed more like she was 12 with how she would speak and act sometimes. I liked Benji though, and I admired her determination to get through this horrible part of her life. I enjoyed reading about Benji's mom and how (in the last quarter of the book) she turns to God to help her with everything. (Though this was a sudden shift and was a little jarring. The story went from no real mention of God to suddenly focusing on how God can help you.) Janie was a well-written character, but I just wanted to shake that girl sometimes for being so spiteful and horrible to her mom and Benji especially! My favorite characters were Uncle Aidan and Dr Blue. They always came across as being optimistic and wanting to help Benji be the best version of herself. I will also say that each character is described very well, so it's easy to picture each one as a real life person instead of just some character in a book.
As much as I enjoyed the book, there were things that didn't work for me. I found the pacing to be a bit too slow for my liking, and I felt like there was too much narrative description through much of the book; I didn't need to know exact details of every little thing. I could have done without the mention of politics in this book; it didn't seem necessary. And a pet peeve: it's mentioned that Benji and her uncle they order chicken nuggets from Sonic. Sonic does not do chicken nuggets; they do chicken strips, popcorn chicken, and boneless wings -- but never chicken nuggets!
I also felt like, although this book is considered a young adult book and deals with some heavy subject matters, it felt like it was written for a middle grade audience.
Trigger warnings for Yeah, but I Didn't include alcoholism, suicide, attempted suicide, teenage pregnancy, some violence, and attempted rape.
While I found Yeah, but I Didn't to be a bit of a slow read mostly, I do think younger teens that who are going through a dark patch in their life would enjoy this. I would recommend Yeah, but I Didn't by Ann Swann to those 14+ who need a bit of hope in their life.
--
(A special thank you to Lone Star Literary Life for providing me with an eBook of Yeah, but I Didn't by Ann Swann in exchange for an honest and unbiased review.)
Lottie disney bookworm (1056 KP) rated The Beast Within: A Tale of Beauty's Prince (Villains #2) in Books
Aug 24, 2019
Beauty and the Beast is arguably one of my favourite Disney classics. I adored Tale as Old as Time and so the Beast’s version of the villain’s tale series had some pretty big boots to fill.
The Beast Within is the second book in the villains’ series and shifts between time periods to provide the reader with an insight to the Beast’s life before and after he was cursed. This was such an interesting concept because each version of Beauty and the Beast contains the vain prince who shuns the enchantress: it’s a pretty key part of the story! However, Serena Valentino expands upon this and, although the Prince becomes no more likeable, Valentino humanises him. We learn the extent of his vanity and, to be honest, probably dislike him more than the original version!
We also receive more of an insight into the Odd Sisters within this novel. We visit their house and gain an idea of the pecking order within the foursome. Yes foursome! I have not drunk too much prosecco and can no longer count (well not yet) – the witches have a little sister.
Circe is as beautiful as her sisters are odd and also happens to be engaged to the Prince (massive coincidence I am sure) but is rejected by him when his best friend Gaston reveals that her family are pig farmers. He claims she deceived him with her beauty and is sickened by her grotesque appearance now he knows the truth.
In fact, by placing Gaston and the Prince side by side we start to think that maybe Belle made the wrong choice by dismissing the shallow hunter so quickly!
Needless to say, Circe is crushed: she accuses him of behaving like a beast, being tainted by vanity and not capable of true love. The spurned witch curses the Prince, warning him that he will slowly transform into the horrifying creature that he is within.
The fact that the reader witnesses the full transformation of Prince into Beast is really interesting and Circe’s words have a profound effect on the Prince, his grasp on his sanity and his future relationships. He veers wildly between dismissing Circe as crazy whilst simultaneously finding a bride in order to break the spell.
Naturally, the Prince is not alone in this story: Mrs Potts, Cogsworth and Lumiere unwittingly become swept up in Circe’s curse. In fact, the odd sisters taunt the Beast, implying that he is only concerned about his servants because of what they may do to him if the curse is not lifted.
Valentino does choose to express that Mrs Potts, in particular, had great affection for the Prince and Gaston as children but this isn’t really played on at all. The reader does gain the sense that the Prince is cared for by his staff but there are no real relationships developed here. Even when Lumiere realises that the Prince views the objects of the curse differently from everyone else; there lacks the compassion and assistance of their animated counterparts.
Another relationship that lacked conviction was that between the Beast and Belle. This is one of the most iconic love stories in the Disney portfolio but I’m afraid I just wasn’t feeling it. I understand that Valentino needs to focus on Tulip: she is an important character who shows the Prince’s desperation, his unwillingness to change and his escalating beastly behaviour (she also links into the next book in the series). However, the focus on Tulip seems to sacrifice any detail when it comes to Belle. Yes, we learn that she attended the original ball and that she will do anything to save her father but that’s pretty much it. The blossoming romance that ensues is witnessed third hand via the odd sisters’ mirror and it begs the question: is this the tale of Beauty’s Prince or is the tale of Circe and her sisters?
Despite Circe being the youngest, it is often implied that she is more powerful than her older sisters and, although she does seem more sane, it cannot be said that Circe is a pushover: upon learning of her sisters’ involvement in the Beast’s fate, Circe punishes them; removes the curse and creates the spinning prince complete with fireworks that we remember from the original movie. This transition from bitter, heartbroken witch to sympathetic and forgiving is unforeseen and abrupt. To be honest it felt like it was a convenient way of shoe-horning the movie ending into the book.
Overall, I loved the potential of The Beast Within. I really enjoyed learning more about the Prince’s character and seeing a side of him that the reader cannot merely brush off as young or vain: he was a truly horrible person. I also loved the little nods to the fairy-tale world, such as Gaston suggesting a ball because it all worked out for the Prince’s friend “after the business with the slipper”.
Valentino also provides hints to future novels and so the references to Ursula were very intriguing as I prepare to read ‘Poor Unfortunate Soul’ next. There is the occasional reference to the old Queen, as well as the continuation of the theme of mirrors and love as a weakness: the odd sisters really do dominate the tales.
In a way I almost feel that the book has a little too much going on: we have the beast’s battle against the curse; the odd sister’s magic; Circe and Ursula’s little tangent and the original storyline. In my opinion, all of these factors make the ending of the book very rushed. For example, the Beast juxtaposes from being unable to fall in love with someone like Belle to presenting her with an entire library just to see her smile in a matter of sentences!
It is a shame because, after the ending of ‘Fairest of All’ I was expecting so much more. I did still like the book but I didn’t love it- I felt like the book could have expanded more on the more unique/dark aspects of the story, such as the creepy statues and the Beast’s alternative view of the curse.
Ah well, you can’t love them all! Onwards and upwards to Poor Unfortunate Soul!
The Beast Within is the second book in the villains’ series and shifts between time periods to provide the reader with an insight to the Beast’s life before and after he was cursed. This was such an interesting concept because each version of Beauty and the Beast contains the vain prince who shuns the enchantress: it’s a pretty key part of the story! However, Serena Valentino expands upon this and, although the Prince becomes no more likeable, Valentino humanises him. We learn the extent of his vanity and, to be honest, probably dislike him more than the original version!
We also receive more of an insight into the Odd Sisters within this novel. We visit their house and gain an idea of the pecking order within the foursome. Yes foursome! I have not drunk too much prosecco and can no longer count (well not yet) – the witches have a little sister.
Circe is as beautiful as her sisters are odd and also happens to be engaged to the Prince (massive coincidence I am sure) but is rejected by him when his best friend Gaston reveals that her family are pig farmers. He claims she deceived him with her beauty and is sickened by her grotesque appearance now he knows the truth.
In fact, by placing Gaston and the Prince side by side we start to think that maybe Belle made the wrong choice by dismissing the shallow hunter so quickly!
Needless to say, Circe is crushed: she accuses him of behaving like a beast, being tainted by vanity and not capable of true love. The spurned witch curses the Prince, warning him that he will slowly transform into the horrifying creature that he is within.
The fact that the reader witnesses the full transformation of Prince into Beast is really interesting and Circe’s words have a profound effect on the Prince, his grasp on his sanity and his future relationships. He veers wildly between dismissing Circe as crazy whilst simultaneously finding a bride in order to break the spell.
Naturally, the Prince is not alone in this story: Mrs Potts, Cogsworth and Lumiere unwittingly become swept up in Circe’s curse. In fact, the odd sisters taunt the Beast, implying that he is only concerned about his servants because of what they may do to him if the curse is not lifted.
Valentino does choose to express that Mrs Potts, in particular, had great affection for the Prince and Gaston as children but this isn’t really played on at all. The reader does gain the sense that the Prince is cared for by his staff but there are no real relationships developed here. Even when Lumiere realises that the Prince views the objects of the curse differently from everyone else; there lacks the compassion and assistance of their animated counterparts.
Another relationship that lacked conviction was that between the Beast and Belle. This is one of the most iconic love stories in the Disney portfolio but I’m afraid I just wasn’t feeling it. I understand that Valentino needs to focus on Tulip: she is an important character who shows the Prince’s desperation, his unwillingness to change and his escalating beastly behaviour (she also links into the next book in the series). However, the focus on Tulip seems to sacrifice any detail when it comes to Belle. Yes, we learn that she attended the original ball and that she will do anything to save her father but that’s pretty much it. The blossoming romance that ensues is witnessed third hand via the odd sisters’ mirror and it begs the question: is this the tale of Beauty’s Prince or is the tale of Circe and her sisters?
Despite Circe being the youngest, it is often implied that she is more powerful than her older sisters and, although she does seem more sane, it cannot be said that Circe is a pushover: upon learning of her sisters’ involvement in the Beast’s fate, Circe punishes them; removes the curse and creates the spinning prince complete with fireworks that we remember from the original movie. This transition from bitter, heartbroken witch to sympathetic and forgiving is unforeseen and abrupt. To be honest it felt like it was a convenient way of shoe-horning the movie ending into the book.
Overall, I loved the potential of The Beast Within. I really enjoyed learning more about the Prince’s character and seeing a side of him that the reader cannot merely brush off as young or vain: he was a truly horrible person. I also loved the little nods to the fairy-tale world, such as Gaston suggesting a ball because it all worked out for the Prince’s friend “after the business with the slipper”.
Valentino also provides hints to future novels and so the references to Ursula were very intriguing as I prepare to read ‘Poor Unfortunate Soul’ next. There is the occasional reference to the old Queen, as well as the continuation of the theme of mirrors and love as a weakness: the odd sisters really do dominate the tales.
In a way I almost feel that the book has a little too much going on: we have the beast’s battle against the curse; the odd sister’s magic; Circe and Ursula’s little tangent and the original storyline. In my opinion, all of these factors make the ending of the book very rushed. For example, the Beast juxtaposes from being unable to fall in love with someone like Belle to presenting her with an entire library just to see her smile in a matter of sentences!
It is a shame because, after the ending of ‘Fairest of All’ I was expecting so much more. I did still like the book but I didn’t love it- I felt like the book could have expanded more on the more unique/dark aspects of the story, such as the creepy statues and the Beast’s alternative view of the curse.
Ah well, you can’t love them all! Onwards and upwards to Poor Unfortunate Soul!
The Boy Who Drew Monsters
7.0
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From the New York Times bestselling author of The Stolen Child comes a hypnotic literary horror...
Emma @ The Movies (1786 KP) rated Ready or Not (2019) in Movies
Nov 5, 2019
Contains spoilers, click to show
I enjoyed this because it was basically bat shit crazy, but I also had some issues with it. The trailers looked great but going back to them now you see quite a lot of action from key points in the film. Because of the haphazard nature of everything I don't think it spoils anything but at the time I couldn't remember many of the trailers going in. The vibe I remembered getting from them was very much You're Next with a vague hint of Clue.
What stopped me in my tracks a little was what the film was trying to be. I thought it was going to be a homedy (yes I'm still trying to make my horror-comedy hybrid work), your traditional crazy horror with a comedic leaning... but what happened was a lot of drama, they were actually trying to be serious. Well, as serious as you can get when you're in the middle of hunting a bride on her wedding night. When mother and son sit to have a heart to heart I was actually taken out of the film for a moment as it wasn't in keeping with what else was happening.
Had this gone all the way over to crazy horror I would have given it a higher rating, they're fast paced and entertaining, the slight indecisiveness of what came to the screen really knocked it down for me. Even with the bizarre magic box tradition this film could have been something more serious but not by the time we get to that ending.
I'm really thankful that this game adaptation was at least better than Truth Or Dare. I don't think I could stand another stinker like that. The story is a nice easy one to get along with, family acquire a magic box that keeps them thriving and all they have to do is occasionally sacrifice someone that's loved deeply by one of the family... good old Satan bringing us a solid storyline.
Samara Weaving, or as I have to keep reminding myself "not Margot Robbie", plays our blushing bride, Grace. Boy does she throw a lot at this role, I like to think she got a lot of stress relief out of this as she fights back at her would be murderers. Thankfully Grace didn't end up in many of the drama-y bits so there was little to be annoyed about. Her magic moments included punching Georgie, swearing at the car and wailing like a banshee at the end like she'd gone feral. Bravo! But I think the best and worst bit was when she climbed out of hell, you knew what she was thinking, you knew she had no option and oh my god did I hurt in sympathy.
Adam Brody has to be the other stand out performance for me as the brother-in-law, Daniel Le Domas. We get a very small introduction to his character as a child but it really did help you to understand the way he is and why he reacts the way he does as they hunt Grace. The guilt he has from the first Hide & Seek he participated in is clearly part of the reason he's the son who's off the rails, but he keeps his protective nature from his childhood in adulthood towards his brother and Grace. He stops and talks with Grace during the hunt and you can see him switching allegiances as we get further through the story. Brody conveys this well and is actually the one character that you can sort of sympathise with. His death is the beginning of the end and it's an emotional moment that played out well on screen. I think he probably came out better not surviving to the end of the film.
There are lots of highs and lows with various characters throughout. Fitch is the "dumb" one and there was something magical about seeing him YouTubing how to use a crossbow and later asking Charity at what point they should cut and run.
Mark O'Brien as Alex Le Domas was probably my least favourite character. His scripting felt rather bland compared to some of the others... but mainly... what an arsehole! Just live in sin man! Why potentially doom her, I'm sure it wouldn't have been too hard to fall off the radar somehow. If he was already slightly estranged I can't see that going altogether would be much of a stretch.
Alex also gets what is possibly the most annoying part of the script, he's handcuffed to the bed and he starts using the chain as a saw to try to get through the ornamental bar... these aren't bit of Ikea furniture... in what universe is that going to work in this timeframe?! Stand up and throw your weight on it until it snaps! I was wondering if he was actually trying to break the handcuffs (an equally stupid idea), and do we actually see how he gets out of them? Now I've confused myself.
Anyway, this will become an epic if I don't move on.
I quite liked the way the film looked, once we got to the evening the whole set became a beautiful golden autumnal palette and it gave you a sense of wealth and history, but when you add in the blood and seeking you get a real sense of the hiding (that makes sense in my head). It did at times become dark, it was never so bad that you couldn't see what was happening but it allowed for the reintroduction of light at the end as the house burns behind her which was a nice touch.
The final sequence should probably get its own mention. Alex, obviously about to break after seeing his brother die and Grace bludgeoning his mother, is bizarrely confirming his fears that the pair will not be together after what has happened. He then turns on her so he can get back the only thing left in his life, his (now slightly smaller) family. I loved the slightly vampiric turn the scene took as they're exposed to the morning sun, I'm not sure I'd have recoiled from it quite so much but I appreciated the comedic value it added. The family's actual demise and Grace's ghost sighting are the reason this needed to be a homedy (Still no? Whatever.), there's no way that fits in with anything more serious. And I'm sorry but overall I didn't find it that funny, much like Last Blood I was reacting to the ridiculous violence.
I like to think that as the last bit of the house disintegrates in the fire and Grace is still sitting bleeding on the steps that a firefighter comes over with the seemingly untouched magic box and hands it to her because it looks like a family heirloom. She's a Le Domas now, and everything is hers...
Full review originally posted on: https://emmaatthemovies.blogspot.com/2019/11/ready-or-not-spoilers-movie-review.html
What stopped me in my tracks a little was what the film was trying to be. I thought it was going to be a homedy (yes I'm still trying to make my horror-comedy hybrid work), your traditional crazy horror with a comedic leaning... but what happened was a lot of drama, they were actually trying to be serious. Well, as serious as you can get when you're in the middle of hunting a bride on her wedding night. When mother and son sit to have a heart to heart I was actually taken out of the film for a moment as it wasn't in keeping with what else was happening.
Had this gone all the way over to crazy horror I would have given it a higher rating, they're fast paced and entertaining, the slight indecisiveness of what came to the screen really knocked it down for me. Even with the bizarre magic box tradition this film could have been something more serious but not by the time we get to that ending.
I'm really thankful that this game adaptation was at least better than Truth Or Dare. I don't think I could stand another stinker like that. The story is a nice easy one to get along with, family acquire a magic box that keeps them thriving and all they have to do is occasionally sacrifice someone that's loved deeply by one of the family... good old Satan bringing us a solid storyline.
Samara Weaving, or as I have to keep reminding myself "not Margot Robbie", plays our blushing bride, Grace. Boy does she throw a lot at this role, I like to think she got a lot of stress relief out of this as she fights back at her would be murderers. Thankfully Grace didn't end up in many of the drama-y bits so there was little to be annoyed about. Her magic moments included punching Georgie, swearing at the car and wailing like a banshee at the end like she'd gone feral. Bravo! But I think the best and worst bit was when she climbed out of hell, you knew what she was thinking, you knew she had no option and oh my god did I hurt in sympathy.
Adam Brody has to be the other stand out performance for me as the brother-in-law, Daniel Le Domas. We get a very small introduction to his character as a child but it really did help you to understand the way he is and why he reacts the way he does as they hunt Grace. The guilt he has from the first Hide & Seek he participated in is clearly part of the reason he's the son who's off the rails, but he keeps his protective nature from his childhood in adulthood towards his brother and Grace. He stops and talks with Grace during the hunt and you can see him switching allegiances as we get further through the story. Brody conveys this well and is actually the one character that you can sort of sympathise with. His death is the beginning of the end and it's an emotional moment that played out well on screen. I think he probably came out better not surviving to the end of the film.
There are lots of highs and lows with various characters throughout. Fitch is the "dumb" one and there was something magical about seeing him YouTubing how to use a crossbow and later asking Charity at what point they should cut and run.
Mark O'Brien as Alex Le Domas was probably my least favourite character. His scripting felt rather bland compared to some of the others... but mainly... what an arsehole! Just live in sin man! Why potentially doom her, I'm sure it wouldn't have been too hard to fall off the radar somehow. If he was already slightly estranged I can't see that going altogether would be much of a stretch.
Alex also gets what is possibly the most annoying part of the script, he's handcuffed to the bed and he starts using the chain as a saw to try to get through the ornamental bar... these aren't bit of Ikea furniture... in what universe is that going to work in this timeframe?! Stand up and throw your weight on it until it snaps! I was wondering if he was actually trying to break the handcuffs (an equally stupid idea), and do we actually see how he gets out of them? Now I've confused myself.
Anyway, this will become an epic if I don't move on.
I quite liked the way the film looked, once we got to the evening the whole set became a beautiful golden autumnal palette and it gave you a sense of wealth and history, but when you add in the blood and seeking you get a real sense of the hiding (that makes sense in my head). It did at times become dark, it was never so bad that you couldn't see what was happening but it allowed for the reintroduction of light at the end as the house burns behind her which was a nice touch.
The final sequence should probably get its own mention. Alex, obviously about to break after seeing his brother die and Grace bludgeoning his mother, is bizarrely confirming his fears that the pair will not be together after what has happened. He then turns on her so he can get back the only thing left in his life, his (now slightly smaller) family. I loved the slightly vampiric turn the scene took as they're exposed to the morning sun, I'm not sure I'd have recoiled from it quite so much but I appreciated the comedic value it added. The family's actual demise and Grace's ghost sighting are the reason this needed to be a homedy (Still no? Whatever.), there's no way that fits in with anything more serious. And I'm sorry but overall I didn't find it that funny, much like Last Blood I was reacting to the ridiculous violence.
I like to think that as the last bit of the house disintegrates in the fire and Grace is still sitting bleeding on the steps that a firefighter comes over with the seemingly untouched magic box and hands it to her because it looks like a family heirloom. She's a Le Domas now, and everything is hers...
Full review originally posted on: https://emmaatthemovies.blogspot.com/2019/11/ready-or-not-spoilers-movie-review.html
Lee (2222 KP) rated Rent-A-Pal (2020) in Movies
Nov 2, 2020
If by any chance you’re feeling nostalgic for the days of VHS videotapes, then Rent-A-Pal is here to satisfy that craving. Set in Denver during 1990, VHS video features rather heavily throughout Rent-A-Pal, from the retro font used in the opening titles to the closeups of videotapes being inserted into a VCR, the internal mechanism engaging with the tape as it prepares to play.
The person responsible for firing up the VCR is David (Brian Landis Folkins), who is settling down to view the latest set of video profiles he’s received from dating agency Video Rendezvous, of which he is a member. David lives in the basement flat of his mum’s house, who has dementia. His father died ten years ago, meaning David is now the sole carer for his mother. And David is lonely, painfully lonely. When he calls Video Rendezvous for an update on any profile matches, he’s told that he has still not received any interest from potential partners who have viewed his profile. He is however urged to come into their office and record a new video profile, as his current one is now 6 months old.
When David sits down in front of the camera to record his new profile, he comes across well, showing just how much of a nice guy he is – a caregiver who simply wants the chance to care for a soulmate, sharing life within a loving relationship. You really do feel for him, certain that the genuine sincerity in his video will finally land him the date he so desperately needs and deserves. That is until the cameraman informs him that he has completely overrun the thirty-second limit allocated to male video profiles and that he is going to have to do it again. The shortened version David then delivers under pressure is rushed, with David now coming across as awkward and creepy, and your heart drops, knowing that he’s likely to remain single for a while longer yet. But then, as he’s having his credit card swiped by the dating agency yet again, David notices an interesting VHS sitting in the nearby bargain bin, titled Rent A Pal, and decides to buy it.
Back in his basement, David puts the Rent-A-Pal video into his VCR and presses play. He’s greeted by Andy (Will Wheaton), a cheery-looking man in a colourful knitted tank top. Andy talks of becoming best friends with David, asking him questions and leaving a pause to allow David to answer. Those pauses aren’t always long enough though, resulting in David being cut off mid-sentence, and the responses from Andy don’t always match the answers that David has given him either. But, desperate for a friend, David persists with this strange form of interaction.
We see that after repeat viewings of the tape David has managed to perfect his responses so that the conversation flows between him and Andy as if it were a real-life conversation. There are parts of the video where Andy plays cards with the viewer, takes a selfie with his back to the camera so that the viewer can be in it, and he and David are able to have the kind of deep and meaningful conversations that only two very good friends would have. It’s a rather lengthy and elaborate videotape, with certain sections earning a revisit should David ever feel the need to have a specific conversation about a certain aspect of his life. Eventually, we as the audience begin to wonder how much of this ‘relationship’ is real or imagined, with some of the questions or replies from Andy beginning to sound eerily close to being very specific and personal to David.
In his real life, David finally gets a lucky break with the dating agency, landing a date with Lisa (Amy Rutledge). Lisa also works in the care sector, and she comes across as a very nice person too. Once again you find yourself willing David to do well and thankfully, they do hit it off. But from the moment David brings Lisa down to his basement and you see that somebody is likely to sit on the VCR remote, you just know things are due to take a dark turn.
Watching David as he interacts with Andy for hours on end, day after day is surprisingly riveting. I was completely engrossed in him and his life as I waited and hoped he might catch a break. For much of the movie, I was just mesmerised by the wonderful performances from the entire cast, thoroughly enjoying the believable, likeable characters they portrayed. But, Rent-A-Pal is billed as a horror movie, so when things do eventually take a turn right at the end, we get a fast-paced, gory ending which felt somewhat disappointing, proving to be the weakest aspect of a movie which really did impress me overall.
The person responsible for firing up the VCR is David (Brian Landis Folkins), who is settling down to view the latest set of video profiles he’s received from dating agency Video Rendezvous, of which he is a member. David lives in the basement flat of his mum’s house, who has dementia. His father died ten years ago, meaning David is now the sole carer for his mother. And David is lonely, painfully lonely. When he calls Video Rendezvous for an update on any profile matches, he’s told that he has still not received any interest from potential partners who have viewed his profile. He is however urged to come into their office and record a new video profile, as his current one is now 6 months old.
When David sits down in front of the camera to record his new profile, he comes across well, showing just how much of a nice guy he is – a caregiver who simply wants the chance to care for a soulmate, sharing life within a loving relationship. You really do feel for him, certain that the genuine sincerity in his video will finally land him the date he so desperately needs and deserves. That is until the cameraman informs him that he has completely overrun the thirty-second limit allocated to male video profiles and that he is going to have to do it again. The shortened version David then delivers under pressure is rushed, with David now coming across as awkward and creepy, and your heart drops, knowing that he’s likely to remain single for a while longer yet. But then, as he’s having his credit card swiped by the dating agency yet again, David notices an interesting VHS sitting in the nearby bargain bin, titled Rent A Pal, and decides to buy it.
Back in his basement, David puts the Rent-A-Pal video into his VCR and presses play. He’s greeted by Andy (Will Wheaton), a cheery-looking man in a colourful knitted tank top. Andy talks of becoming best friends with David, asking him questions and leaving a pause to allow David to answer. Those pauses aren’t always long enough though, resulting in David being cut off mid-sentence, and the responses from Andy don’t always match the answers that David has given him either. But, desperate for a friend, David persists with this strange form of interaction.
We see that after repeat viewings of the tape David has managed to perfect his responses so that the conversation flows between him and Andy as if it were a real-life conversation. There are parts of the video where Andy plays cards with the viewer, takes a selfie with his back to the camera so that the viewer can be in it, and he and David are able to have the kind of deep and meaningful conversations that only two very good friends would have. It’s a rather lengthy and elaborate videotape, with certain sections earning a revisit should David ever feel the need to have a specific conversation about a certain aspect of his life. Eventually, we as the audience begin to wonder how much of this ‘relationship’ is real or imagined, with some of the questions or replies from Andy beginning to sound eerily close to being very specific and personal to David.
In his real life, David finally gets a lucky break with the dating agency, landing a date with Lisa (Amy Rutledge). Lisa also works in the care sector, and she comes across as a very nice person too. Once again you find yourself willing David to do well and thankfully, they do hit it off. But from the moment David brings Lisa down to his basement and you see that somebody is likely to sit on the VCR remote, you just know things are due to take a dark turn.
Watching David as he interacts with Andy for hours on end, day after day is surprisingly riveting. I was completely engrossed in him and his life as I waited and hoped he might catch a break. For much of the movie, I was just mesmerised by the wonderful performances from the entire cast, thoroughly enjoying the believable, likeable characters they portrayed. But, Rent-A-Pal is billed as a horror movie, so when things do eventually take a turn right at the end, we get a fast-paced, gory ending which felt somewhat disappointing, proving to be the weakest aspect of a movie which really did impress me overall.
Movie Metropolis (309 KP) rated Solo: A Star Wars Story (2018) in Movies
Jun 10, 2019
Star Wars goes western
Star Wars has had somewhat of a chequered history since turning over to the dark side, sorry, I mean Disney. You see, since LucasFilm was acquired by the House of Mouse there has been one Star Wars movie each year. The Force Awakens was good, if a little safe and The Last Jedi was brilliant, but incredibly divisive.
What’s been more exciting to see evolve however, is the Star Wars Story movies. Rogue One became my 2nd favourite film in the series after Empire with Godzilla director, Gareth Edwards proving to be a force to be reckoned with. Then, LEGO Movie directors Phil Lord and Chris Miller were hired to direct a Han Solo origins story and that got people very excited indeed.Fast forward a few months and they were unceremoniously dumped from the project during filming with veteran director Ron Howard brought in as their replacements. Howard’s name is a concerning one. He’s become something of a director-for-hire over the last decade: competent but not exemplary. Phew! Keeping up? Good.
The resulting film has been plagued by ballooning costs, expensive reshoots and rumours of on-set acting classes for some of the stars. It’s finally here, but are we looking at the first new generation Star Wars failure?
Young Han Solo (Alden Ehrenreich) finds adventure when he joins a gang of galactic smugglers, including a 196-year-old Wookie named Chewbacca. Indebted to the gangster Dryden Vos (Paul Bettany), the crew devises a daring plan to travel to the mining planet Kessel to steal a batch of valuable coaxium. In need of a fast ship, Solo meets Lando Calrissian (Donald Glover), the suave owner of the perfect vessel for the dangerous mission — the Millennium Falcon.
Thankfully, and by nothing short of a miracle, Solo: A Star Wars Story is engaging, packed full of nostalgia and features an incredible ensemble cast. It’s not perfect by any means, but we’ll get on to that later.
Billed as a heist meets western kinda movie, Solo hits all the right beats to carefully straddle the line between those two genres. The writing is snappy, genuinely funny and engaging with all the cast members doing their fair share of the heavy lifting. Emilia Clarke is great as Solo’s love interest Qi’Ra and Woody Harrelson is as charming as ever in a role that could’ve been serviced by many 50-something actors who could do fancy stuff with a blaster.
It is in Donald Glover however that the film truly belongs. His Lando Calrissian is absolutely, unequivocally sublime. He channels his counterpart from Empire beautifully and you do feel like you’re watching a young Billy Dee Williams in action.
There is some striking imagery throughout the film with the western-style finale being absolutely superb
In fact, there are only two of the main cast members that fail to register in the way that they had clearly intended to do. One is Paul Bettany’s Dryden Vos; the Star Wars universe’s first real villain failure. Alas, it’s not the fault of Bettany. The part was originally written for a CGI motion capture performance but was changed at the last minute with reshoots being added for Bettany’s scenes.
The other, unfortunately, is Han Solo himself. Alden Ehrenreich definitely makes all the right noises. He’s cocky, arrogant, self-assured, just like Harrison Ford, but, for all of his effort, he just isn’t doing a Harrison Ford in this film. Now, that doesn’t ruin the movie as much as you might think it does, as it’s easy to just go along for the ride, but at no point in Solo’s run time did I think we were watching a young Harrison Ford in action. Ehrenreich is good, he’s just not that good.
Thankfully, what is that good is the cinematography. The action is staged beautifully, though I’m unsure as to whether this is Howard’s influence or the previous directors. There is some striking imagery throughout the film with the western-style finale being absolutely superb. The CGI is nicely integrated with animatronics and props, just like a Star Wars movie should be, and each of the set pieces is brimming with excitement.
One sequence in particular, involving the liberation of some slaves is really nicely filmed with a great colour palate and the much-marketed monorail heist is edge-of-your-seat stuff with cracking CGI.
Pacing is generally good, and at 135 minutes that is no easy win though things do drag a little about half way through. What is pleasing however, is how the bromance between Chewbacca and Han takes a backseat up until about 40 minutes before the end in which a familiar theme plays over the action: it’s spine-tingling in its simplicity. In fact, John Powell’s score is rousing when it needs to be and beautifully put together. A real match for John Williams’ classic orchestral soundtrack.
Overall, Solo: A Star Wars Story is better than it had any right to be. Whenever a film goes through such a turbulent production process, it’s always concerning that the final product will be somehow lesser in quality, but this isn’t the case here. It’s not perfect by any stretch of the imagination, but as a continuation of the new Star Wars mantra under Disney, it’s a fitting entry and a great addition to the series.
https://moviemetropolis.net/2018/05/24/solo-a-star-wars-story-review-stars-wars-goes-western/
What’s been more exciting to see evolve however, is the Star Wars Story movies. Rogue One became my 2nd favourite film in the series after Empire with Godzilla director, Gareth Edwards proving to be a force to be reckoned with. Then, LEGO Movie directors Phil Lord and Chris Miller were hired to direct a Han Solo origins story and that got people very excited indeed.Fast forward a few months and they were unceremoniously dumped from the project during filming with veteran director Ron Howard brought in as their replacements. Howard’s name is a concerning one. He’s become something of a director-for-hire over the last decade: competent but not exemplary. Phew! Keeping up? Good.
The resulting film has been plagued by ballooning costs, expensive reshoots and rumours of on-set acting classes for some of the stars. It’s finally here, but are we looking at the first new generation Star Wars failure?
Young Han Solo (Alden Ehrenreich) finds adventure when he joins a gang of galactic smugglers, including a 196-year-old Wookie named Chewbacca. Indebted to the gangster Dryden Vos (Paul Bettany), the crew devises a daring plan to travel to the mining planet Kessel to steal a batch of valuable coaxium. In need of a fast ship, Solo meets Lando Calrissian (Donald Glover), the suave owner of the perfect vessel for the dangerous mission — the Millennium Falcon.
Thankfully, and by nothing short of a miracle, Solo: A Star Wars Story is engaging, packed full of nostalgia and features an incredible ensemble cast. It’s not perfect by any means, but we’ll get on to that later.
Billed as a heist meets western kinda movie, Solo hits all the right beats to carefully straddle the line between those two genres. The writing is snappy, genuinely funny and engaging with all the cast members doing their fair share of the heavy lifting. Emilia Clarke is great as Solo’s love interest Qi’Ra and Woody Harrelson is as charming as ever in a role that could’ve been serviced by many 50-something actors who could do fancy stuff with a blaster.
It is in Donald Glover however that the film truly belongs. His Lando Calrissian is absolutely, unequivocally sublime. He channels his counterpart from Empire beautifully and you do feel like you’re watching a young Billy Dee Williams in action.
There is some striking imagery throughout the film with the western-style finale being absolutely superb
In fact, there are only two of the main cast members that fail to register in the way that they had clearly intended to do. One is Paul Bettany’s Dryden Vos; the Star Wars universe’s first real villain failure. Alas, it’s not the fault of Bettany. The part was originally written for a CGI motion capture performance but was changed at the last minute with reshoots being added for Bettany’s scenes.
The other, unfortunately, is Han Solo himself. Alden Ehrenreich definitely makes all the right noises. He’s cocky, arrogant, self-assured, just like Harrison Ford, but, for all of his effort, he just isn’t doing a Harrison Ford in this film. Now, that doesn’t ruin the movie as much as you might think it does, as it’s easy to just go along for the ride, but at no point in Solo’s run time did I think we were watching a young Harrison Ford in action. Ehrenreich is good, he’s just not that good.
Thankfully, what is that good is the cinematography. The action is staged beautifully, though I’m unsure as to whether this is Howard’s influence or the previous directors. There is some striking imagery throughout the film with the western-style finale being absolutely superb. The CGI is nicely integrated with animatronics and props, just like a Star Wars movie should be, and each of the set pieces is brimming with excitement.
One sequence in particular, involving the liberation of some slaves is really nicely filmed with a great colour palate and the much-marketed monorail heist is edge-of-your-seat stuff with cracking CGI.
Pacing is generally good, and at 135 minutes that is no easy win though things do drag a little about half way through. What is pleasing however, is how the bromance between Chewbacca and Han takes a backseat up until about 40 minutes before the end in which a familiar theme plays over the action: it’s spine-tingling in its simplicity. In fact, John Powell’s score is rousing when it needs to be and beautifully put together. A real match for John Williams’ classic orchestral soundtrack.
Overall, Solo: A Star Wars Story is better than it had any right to be. Whenever a film goes through such a turbulent production process, it’s always concerning that the final product will be somehow lesser in quality, but this isn’t the case here. It’s not perfect by any stretch of the imagination, but as a continuation of the new Star Wars mantra under Disney, it’s a fitting entry and a great addition to the series.
https://moviemetropolis.net/2018/05/24/solo-a-star-wars-story-review-stars-wars-goes-western/
Darren (1599 KP) rated Alien Abduction (2014) in Movies
Jun 20, 2019
Story: Alien Abduction starts by informing us this is based on actual footage found, *sigh*. This before going off to show us footage that looks like is being shot through a pair of fingers with screaming in the background. All this and the camera gets dropped out the spacecraft. The film then decides to inform us about The Brown Mountain Lights a location in North Carolina that has a high disappearance rate. Time for the experts and locals to give us their stories about what has been happening and a theory behind what is happening. More reading before we find out who the camera belonged too.
Oh great now the film starts with the Morris family and their camcorder holiday being filmed by autistic 11 year old boy Riley (Polanski). The family which includes Katie (Sigismund), Corey (Eid), Jillian (Clare) and Peter (Holden) are camping out around the The Brown Mountain. On the first night the children see UFOs in the sky and film it but don’t seem to rewind and watch it. The family continues their trip and gets lost while travelling to the next location and the family finds themselves stranded very low on gas. What the family finds next is a string of abandoned cars blocking the road and investigating the tunnel they find themselves under attack from aliens.
We now have to deal with an over panicked family running for their lives against an enemy they can’t imagine beating. The family makes out hiding with generic redneck Sean (Bowser) where they have to survive the night.
Alien Abduction started off by really annoying me for first 5 odd minutes because of the amount of reading on a found footage film is too much. One thing that always annoys me with found footage is bad decision and this is filled with them starting very early on. Let’s list them panicking too much, turning the light on in the dark so the aliens know where you are, not turning around after finding plenty of abandoned cars and finally after the first light sighting why didn’t you just pack up and go home. I know a lot of these found footage films criticise why they carry on filming but I think this one gets away with it by making the kid autistic and needs to film everything to keep him happy. In the end this does have good scares but not original ones and you never really end up feeling truly scared as everything unfolds because you know how it ends thanks to the beginning. (4/10)
Actor Review
Katherine Sigismund: Katie Morris is the mother of the family who is all out to protect her family from the aliens, she tries to stay strong after the early loss of the father. Katherine does a solid job by making us feel like she really is the mother of the house. (6/10)
Corey Eid: Corey Morris is the eldest son who has to become the man after his father sacrifices himself to save the rest of the family. Corey does solid job and like most of the cast we really do believe they are just a family. (6/10)
Riley Polanski: Riley Morris is our autistic cameraman and we see nearly the whole film from his point of view, this helps use try and get into the idea of the fear he would be going through watching his family being picked off one by one. It is hard to rate someone behind the camera. (5/10)
Jillian Clare: Jillian Morris is the only daughter of the family who has to try and help keep Riley safe once the aliens start turning up. Jillian gives a solid performance but never really shines. (6/10)
Jeff Bowser: Sean is the nice redneck who lives in and around the mountains that helps the family try and survive the horror that is out there waiting for them. Jeff does a solid job and his character constantly turning up makes us believe they could survive. (6/10)
Support Cast: Alien Abduction doesn’t really have much of a supporting cast with the only character we actual meet in the father of the family who doesn’t last too long.
Director Review: Matty Beckerman – Matty does a solid job with the scares, but gave away too much information about the location because there was no reason or chance for the characters to learn about the history. (5/10)
Horror: Alien Abduction enters the found footage horror genre nicely but will end up going down as a standard one. (7/10)
Sci-Fi: Alien Abduction uses the alien abduction well but never really makes us see more than we need to about the ship. (6/10)
Thriller: Alien Abduction never lets you care about the characters because you know what happens at the end, not all found footage films need everyone to die. (6/10)
Settings: Alien Abduction puts us in a location that could very well have unexplained experiences happening there but surely people would suggest not going there on a camping trip. (8/10)
Suggestion: Alien Abduction is one for the found footage fans out there to try it isn’t special but does have its good moments. (Found Footage Fans Try)
Best Part: Not holding back with the first alien encounter.
Worst Part: Too much given away early on with the reading.
Kill Of The Film: Katie
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: No
Post Credits Scene: Yes there are two.
Similar Too: VHS 2 Alien Abduction part.
Oscar Chances: No
Runtime: 1 Hour 25 Minutes
Tagline: Fear The Lights
Overall: Found Footage falls from the sky here, literally.
https://moviesreview101.com/2016/01/22/movie-reviews-101-halloween-midnight-horror-alien-abduction-2014/
Oh great now the film starts with the Morris family and their camcorder holiday being filmed by autistic 11 year old boy Riley (Polanski). The family which includes Katie (Sigismund), Corey (Eid), Jillian (Clare) and Peter (Holden) are camping out around the The Brown Mountain. On the first night the children see UFOs in the sky and film it but don’t seem to rewind and watch it. The family continues their trip and gets lost while travelling to the next location and the family finds themselves stranded very low on gas. What the family finds next is a string of abandoned cars blocking the road and investigating the tunnel they find themselves under attack from aliens.
We now have to deal with an over panicked family running for their lives against an enemy they can’t imagine beating. The family makes out hiding with generic redneck Sean (Bowser) where they have to survive the night.
Alien Abduction started off by really annoying me for first 5 odd minutes because of the amount of reading on a found footage film is too much. One thing that always annoys me with found footage is bad decision and this is filled with them starting very early on. Let’s list them panicking too much, turning the light on in the dark so the aliens know where you are, not turning around after finding plenty of abandoned cars and finally after the first light sighting why didn’t you just pack up and go home. I know a lot of these found footage films criticise why they carry on filming but I think this one gets away with it by making the kid autistic and needs to film everything to keep him happy. In the end this does have good scares but not original ones and you never really end up feeling truly scared as everything unfolds because you know how it ends thanks to the beginning. (4/10)
Actor Review
Katherine Sigismund: Katie Morris is the mother of the family who is all out to protect her family from the aliens, she tries to stay strong after the early loss of the father. Katherine does a solid job by making us feel like she really is the mother of the house. (6/10)
Corey Eid: Corey Morris is the eldest son who has to become the man after his father sacrifices himself to save the rest of the family. Corey does solid job and like most of the cast we really do believe they are just a family. (6/10)
Riley Polanski: Riley Morris is our autistic cameraman and we see nearly the whole film from his point of view, this helps use try and get into the idea of the fear he would be going through watching his family being picked off one by one. It is hard to rate someone behind the camera. (5/10)
Jillian Clare: Jillian Morris is the only daughter of the family who has to try and help keep Riley safe once the aliens start turning up. Jillian gives a solid performance but never really shines. (6/10)
Jeff Bowser: Sean is the nice redneck who lives in and around the mountains that helps the family try and survive the horror that is out there waiting for them. Jeff does a solid job and his character constantly turning up makes us believe they could survive. (6/10)
Support Cast: Alien Abduction doesn’t really have much of a supporting cast with the only character we actual meet in the father of the family who doesn’t last too long.
Director Review: Matty Beckerman – Matty does a solid job with the scares, but gave away too much information about the location because there was no reason or chance for the characters to learn about the history. (5/10)
Horror: Alien Abduction enters the found footage horror genre nicely but will end up going down as a standard one. (7/10)
Sci-Fi: Alien Abduction uses the alien abduction well but never really makes us see more than we need to about the ship. (6/10)
Thriller: Alien Abduction never lets you care about the characters because you know what happens at the end, not all found footage films need everyone to die. (6/10)
Settings: Alien Abduction puts us in a location that could very well have unexplained experiences happening there but surely people would suggest not going there on a camping trip. (8/10)
Suggestion: Alien Abduction is one for the found footage fans out there to try it isn’t special but does have its good moments. (Found Footage Fans Try)
Best Part: Not holding back with the first alien encounter.
Worst Part: Too much given away early on with the reading.
Kill Of The Film: Katie
Believability: No (0/10)
Chances of Tears: No (0/10)
Chances of Sequel: No
Post Credits Scene: Yes there are two.
Similar Too: VHS 2 Alien Abduction part.
Oscar Chances: No
Runtime: 1 Hour 25 Minutes
Tagline: Fear The Lights
Overall: Found Footage falls from the sky here, literally.
https://moviesreview101.com/2016/01/22/movie-reviews-101-halloween-midnight-horror-alien-abduction-2014/
Hadley (567 KP) rated The Devil in the White City: Murder, Magic, and Madness in Books
Jan 18, 2021
History (1 more)
Well-written
H.H. Holmes had many aliases and lives.
He's been a doctor and a licensed pharmacist, who then conned an old couple into selling their drug store to him where he preyed on young girls and ignorant customers that would buy whatever Holmes would tell them to buy, whether it were real or fake tonics.
He was a building owner who had a murder hotel secretly built with " a wooden chute that would descend from a secret location on the second floor all the way to the basement... ", "a room next to his office fitted with a large walk-in vault, with airtight seams and asbestos-coated iron walls. A gas jet embedded in one wall would be controlled from his closet...", "a large basement with hidden chambers and a sub-basement for the permanent storage of sensitive material. "
He owned and ran an alcohol-treatment company known as the Silver Ash Institute that claimed to have the cure for alcoholism.
He was a traveling business man, who had two wives and two children. He established the Campbell-Yates Manufacturing Company, which made nothing and sold nothing.
He was also labeled as America's first serial killer. His body count is unknown even today; his victims were frequently young women, which included stenographers and house wives. He was best known for convincing people who trusted him to sign him as the beneficiary of their life insurance policies, only to kill them and make it seem an accident so he could collect the money.
Holmes grew up in a small farming village in New Hampshire, where he briefly spoke about an early fear of a human skeleton that hung in a doctor's office: " 'I had daily to pass the office of one village doctor, the door of which was seldom if ever barred,' he wrote in a later memoir. 'Partly from its being associated in my mind as the source of all the nauseous mixtures that had been my childish terror (for this was before the day of children's medicines), and partly because of vague rumors I had heard regarding its contents, this place was one of peculiar abhorrence to me.' "... "Two children discovered Mudgett's [Holmes' real last name] fear and one day captured him and dragged him 'struggling and shrieking' into the doctor's office. 'Nor did they desist,' Mudgett wrote, 'until I had been brought face to face with one of its grinning skeletons, which, with arms outstretched, seemed ready in its turn to seize me. It was a wicked and dangerous thing to do to a child of tender years and health,' he wrote, ' but it proved an heroic method of treatment, destined ultimately to cure me of my fears, and to inculcate in me, first, a strong feeling of curiosity, and, later, a desire to learn, which resulted years afterwards in my adopting medicine as a profession.' "
Erik Larson's fourth book, the Devil in the White City, is only partly about Holmes and his dark trail of murder and lies. The story told is mostly centered around the planning and building of the 1893 World's Fair. The prologue opens with one of the architects aboard a ship long after the fair has ended - - - 1912 to be exact- - - where he begins to write of the fair in his diary. The next chapter continues on with Chicago competing against other major cities to win the rights to host the World's Fair. Chicago was not the ideal place for the fair because it was known for it's crime and slaughter houses - - - this was exactly why the politicians wanted it so badly there, so it would help to lighten the image of Chicago for the rest of the world. Even the local Whitechapel Club that had sprouted up after the infamous murders by Jack the Ripper, were excited to win the rights to host the fair in their city, and celebrated in a macabre way:
"Upon learning that Chicago had won the fair, the men of the Whitechapel Club composed a telegram to Chauncey Depew, who more than any other man symbolized New York and its campaign to win the fair. Previously Depew had promised the members of the Whitechapel Club that if Chicago prevailed he would present himself at the club's next meeting, to be hacked apart by the Ripper himself - - - metaphorically, he presumed, although at the Whitechapel Club could one ever be certain? The club's coffin, for example, had once been used to transport the body of a member who had committed suicide. After claiming his body, the club hauled it to the Indiana Dunes on Lake Michigan, where members erected an immense pyre. They placed the body on top, then set it alight. Carrying torches and wearing black hooded robes, they circled the fire singing hymns to the dead between sips of whiskey. The club also had a custom of sending robed members to kidnap visiting celebrities and steal them away in a black coach with covered windows, all without saying a word.
The club's telegram reached Depew in Washington twenty minutes after the final ballot, just as Chicago's congressional delegation began celebrating at the Willard Hotel near the White House. The telegram asked, 'When may we see you at our dissecting table?' "
There are chapters in-between, technically reading like a side story, that tell us about Holmes and his misdeeds in Chicago, but there just wasn't enough about Holmes that I could consider this a True Crime book, nor an informative book about Holmes. Unfortunately, when the reader begins to really dwell into the story of Holmes, it's quickly ended by having two or more chapters about the building of the World's Fair. One interesting point about the story is that the reader does get to see how many inventions were brought to light because of the Fair, such as the invention of the Ferris Wheel. Larson's writing is very coherent and the descriptions are so well done that the reader is practically transported back to the late 1800s, yet, before I finished the book, I felt misled by the title... then coming across everything that happened to not only the Fair, but the people who were involved with it, it's hard not to wonder if the whole thing was cursed, thus the Devil being in the White City.
One of the side stories I did really enjoy was the slow unfolding of a man named Prendergast. A delusional young man who ran one of the groups of paperboys in Chicago, who was also obsessed with politics, became a determined supporter of Mayor Harrison; after Harrison was voted into office again, Prendergast believed it was because of him and the letters he sent out to numerous politicians and potential voters. Prendergast also believed he deserved a chair on the council for Harrison's re-election, for which he even showed up at City Hall to take over. This incident was the straw that broke the camel's back for Prendergast - - - he was humiliated when the people there laughed in his face. Prendergast then decided to take matters into his own hands, and bought a revolver. The day before the Fair would end, Prendergast showed up at Harrison's home and shot him. Harrison died minutes later. Prendergast turned himself in for the murder as soon as he left Harrison's residence. When asked why he had done it, Prendergast responded: " ' Because he betrayed my confidence. I supported him through his campaign and he promised to appoint me corporation counsel. He didn't live up to his word.' "
This book has been voted as a top True Crime must-read novel. I don't agree with this. As I said before: Holmes' chapters are few; eighty percent of this book is about the building of the World's Fair. As a True Crime junkie, I didn't enjoy this one, but also as a history junkie, I enjoyed learning about the Fair and everything that happened. I can't recommend this book to TC fans or horror fans. It's mostly history and architecture.
He's been a doctor and a licensed pharmacist, who then conned an old couple into selling their drug store to him where he preyed on young girls and ignorant customers that would buy whatever Holmes would tell them to buy, whether it were real or fake tonics.
He was a building owner who had a murder hotel secretly built with " a wooden chute that would descend from a secret location on the second floor all the way to the basement... ", "a room next to his office fitted with a large walk-in vault, with airtight seams and asbestos-coated iron walls. A gas jet embedded in one wall would be controlled from his closet...", "a large basement with hidden chambers and a sub-basement for the permanent storage of sensitive material. "
He owned and ran an alcohol-treatment company known as the Silver Ash Institute that claimed to have the cure for alcoholism.
He was a traveling business man, who had two wives and two children. He established the Campbell-Yates Manufacturing Company, which made nothing and sold nothing.
He was also labeled as America's first serial killer. His body count is unknown even today; his victims were frequently young women, which included stenographers and house wives. He was best known for convincing people who trusted him to sign him as the beneficiary of their life insurance policies, only to kill them and make it seem an accident so he could collect the money.
Holmes grew up in a small farming village in New Hampshire, where he briefly spoke about an early fear of a human skeleton that hung in a doctor's office: " 'I had daily to pass the office of one village doctor, the door of which was seldom if ever barred,' he wrote in a later memoir. 'Partly from its being associated in my mind as the source of all the nauseous mixtures that had been my childish terror (for this was before the day of children's medicines), and partly because of vague rumors I had heard regarding its contents, this place was one of peculiar abhorrence to me.' "... "Two children discovered Mudgett's [Holmes' real last name] fear and one day captured him and dragged him 'struggling and shrieking' into the doctor's office. 'Nor did they desist,' Mudgett wrote, 'until I had been brought face to face with one of its grinning skeletons, which, with arms outstretched, seemed ready in its turn to seize me. It was a wicked and dangerous thing to do to a child of tender years and health,' he wrote, ' but it proved an heroic method of treatment, destined ultimately to cure me of my fears, and to inculcate in me, first, a strong feeling of curiosity, and, later, a desire to learn, which resulted years afterwards in my adopting medicine as a profession.' "
Erik Larson's fourth book, the Devil in the White City, is only partly about Holmes and his dark trail of murder and lies. The story told is mostly centered around the planning and building of the 1893 World's Fair. The prologue opens with one of the architects aboard a ship long after the fair has ended - - - 1912 to be exact- - - where he begins to write of the fair in his diary. The next chapter continues on with Chicago competing against other major cities to win the rights to host the World's Fair. Chicago was not the ideal place for the fair because it was known for it's crime and slaughter houses - - - this was exactly why the politicians wanted it so badly there, so it would help to lighten the image of Chicago for the rest of the world. Even the local Whitechapel Club that had sprouted up after the infamous murders by Jack the Ripper, were excited to win the rights to host the fair in their city, and celebrated in a macabre way:
"Upon learning that Chicago had won the fair, the men of the Whitechapel Club composed a telegram to Chauncey Depew, who more than any other man symbolized New York and its campaign to win the fair. Previously Depew had promised the members of the Whitechapel Club that if Chicago prevailed he would present himself at the club's next meeting, to be hacked apart by the Ripper himself - - - metaphorically, he presumed, although at the Whitechapel Club could one ever be certain? The club's coffin, for example, had once been used to transport the body of a member who had committed suicide. After claiming his body, the club hauled it to the Indiana Dunes on Lake Michigan, where members erected an immense pyre. They placed the body on top, then set it alight. Carrying torches and wearing black hooded robes, they circled the fire singing hymns to the dead between sips of whiskey. The club also had a custom of sending robed members to kidnap visiting celebrities and steal them away in a black coach with covered windows, all without saying a word.
The club's telegram reached Depew in Washington twenty minutes after the final ballot, just as Chicago's congressional delegation began celebrating at the Willard Hotel near the White House. The telegram asked, 'When may we see you at our dissecting table?' "
There are chapters in-between, technically reading like a side story, that tell us about Holmes and his misdeeds in Chicago, but there just wasn't enough about Holmes that I could consider this a True Crime book, nor an informative book about Holmes. Unfortunately, when the reader begins to really dwell into the story of Holmes, it's quickly ended by having two or more chapters about the building of the World's Fair. One interesting point about the story is that the reader does get to see how many inventions were brought to light because of the Fair, such as the invention of the Ferris Wheel. Larson's writing is very coherent and the descriptions are so well done that the reader is practically transported back to the late 1800s, yet, before I finished the book, I felt misled by the title... then coming across everything that happened to not only the Fair, but the people who were involved with it, it's hard not to wonder if the whole thing was cursed, thus the Devil being in the White City.
One of the side stories I did really enjoy was the slow unfolding of a man named Prendergast. A delusional young man who ran one of the groups of paperboys in Chicago, who was also obsessed with politics, became a determined supporter of Mayor Harrison; after Harrison was voted into office again, Prendergast believed it was because of him and the letters he sent out to numerous politicians and potential voters. Prendergast also believed he deserved a chair on the council for Harrison's re-election, for which he even showed up at City Hall to take over. This incident was the straw that broke the camel's back for Prendergast - - - he was humiliated when the people there laughed in his face. Prendergast then decided to take matters into his own hands, and bought a revolver. The day before the Fair would end, Prendergast showed up at Harrison's home and shot him. Harrison died minutes later. Prendergast turned himself in for the murder as soon as he left Harrison's residence. When asked why he had done it, Prendergast responded: " ' Because he betrayed my confidence. I supported him through his campaign and he promised to appoint me corporation counsel. He didn't live up to his word.' "
This book has been voted as a top True Crime must-read novel. I don't agree with this. As I said before: Holmes' chapters are few; eighty percent of this book is about the building of the World's Fair. As a True Crime junkie, I didn't enjoy this one, but also as a history junkie, I enjoyed learning about the Fair and everything that happened. I can't recommend this book to TC fans or horror fans. It's mostly history and architecture.