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Dean (6927 KP) rated Death on the Nile (2022) in Movies
Feb 27, 2022
Cinematography (1 more)
Very stylish
A decent remake
I'm a big Agatha Christie fan and the Ustinov version of this from '78 along with @Evil Under the Sun (1982) are two of my favourite films of her stories.
This doesn't differ too much in terms of the core story or characters. We do get a little look at Poirot's past. It looks stunning, the cinematography stands out as well as the opulence. From the Fashion, the steamer boat, all the details show the class of high luxury and wealth of the lead characters.
It's a bit raunchy as well to make it a bit more modern.
Some of cast are unrecognisable, Russell Brand looking very different. French and Saunders do seem a bit miscast though.
Some of details of the plot did seem a bit more rushed in this version. Also lacking a bit of charm of the original. Still a good effort and better than Murder on the Orient Express I felt.
This doesn't differ too much in terms of the core story or characters. We do get a little look at Poirot's past. It looks stunning, the cinematography stands out as well as the opulence. From the Fashion, the steamer boat, all the details show the class of high luxury and wealth of the lead characters.
It's a bit raunchy as well to make it a bit more modern.
Some of cast are unrecognisable, Russell Brand looking very different. French and Saunders do seem a bit miscast though.
Some of details of the plot did seem a bit more rushed in this version. Also lacking a bit of charm of the original. Still a good effort and better than Murder on the Orient Express I felt.
David McK (3600 KP) rated Ant-Man and The Wasp: Quantumania (2023) in Movies
Mar 11, 2023
Maybe I'm just starting to get a bit burned out on the relentless release pace of the MCU, but - for me- I feel like it's been on a bit of a downward trend since the end of the Infinity Stones Saga (with Avengers: Endgame)
I also miss the somewhat-heightened reality of the earlier Marvel movies: like the original Iron Man, say, or even The Winter Soldier.
The reason I say that?
Because this takes place, almost exclusively, in the quantum realm first mentioned in the original Ant-Man, really only being book-ended by the 'real' world.
This is also - or so I've read - the first in what is termed as Marvel Phase 5, introducing (for any who didn't make it to the end of the Loki TV show!) the next big bad, in the form of Jonathan Major's Kang the Conqueror (who steals pretty much every scene he is in here)
I also miss the somewhat-heightened reality of the earlier Marvel movies: like the original Iron Man, say, or even The Winter Soldier.
The reason I say that?
Because this takes place, almost exclusively, in the quantum realm first mentioned in the original Ant-Man, really only being book-ended by the 'real' world.
This is also - or so I've read - the first in what is termed as Marvel Phase 5, introducing (for any who didn't make it to the end of the Loki TV show!) the next big bad, in the form of Jonathan Major's Kang the Conqueror (who steals pretty much every scene he is in here)
David McK (3600 KP) rated Frank Herbert's Dune, the Graphic Novel book 3: The Prophet in Books
Apr 6, 2025
My exposure to Dune - despite knowing the basics i.e. Science fiction, Sandworms, Arrakis - really only comes from the 2021 (Dune) and 2024 (Dune: part 2) movies.
Which I'm well aware, due to the nature of the medium, leaves a lot out.
As such, it's interesting reading this (after having read the previous 2 entries in the same graphic novel series) to see how much is familiar, and how much is changed.
Oh, the basics are there right enough (in the movies), but there are several differences to the story: Paul Atriedes sister (only teased in Part 2), here, being the most prominent example.
Not having read the 'original' original, I can't say how much was changed for the move from print to graphic novel medium, but I do believe that the authors/artists/stencillers here did try to stick as close as possible to that story.
I can understand why it was slimmed down for the move to the big screen.
Which I'm well aware, due to the nature of the medium, leaves a lot out.
As such, it's interesting reading this (after having read the previous 2 entries in the same graphic novel series) to see how much is familiar, and how much is changed.
Oh, the basics are there right enough (in the movies), but there are several differences to the story: Paul Atriedes sister (only teased in Part 2), here, being the most prominent example.
Not having read the 'original' original, I can't say how much was changed for the move from print to graphic novel medium, but I do believe that the authors/artists/stencillers here did try to stick as close as possible to that story.
I can understand why it was slimmed down for the move to the big screen.
Movie Metropolis (309 KP) rated Halloween (2018) in Movies
Jun 10, 2019
A True successor to the original
Halloween 1978 and little-known director John Carpenter terrifies thousands of impressionable horror fans with the introduction of ‘The Shape’. Jamie Lee Curtis becomes the new ‘scream queen’ and all is well in the world of the slasher genre.
Fast-forward to 2009 and Rob Zombie directs the sequel to his reasonably successful remake of Halloween, but it was poorly received by critics and audiences alike. Why? Well Zombie’s grungy, rock-anthem vibe didn’t really sit too well with Michael Myers and the result was a distasteful and messy outing that set the franchise back nearly 10 years.
Of course, in between 1978 and 2009, the series was ripped apart, put back together again until it was a shadow of its former self. Anyone remember Busta Rhymes doing a vague impression of a karate master in Halloween: Resurrection? Best forget about that.
Nevertheless, director David Gordon Green, a lifetime fan of Carpenter’s iconic original is in the chair to helm a direct sequel to the 1978 classic. That’s right, it forgoes every single film apart from the first. But is it a worthy sequel to one of the greatest horror films of all time?
It’s been 40 years since Laurie Strode survived a vicious attack from crazed killer Michael Myers on Halloween night. Locked up in an institution, Myers manages to escape when his bus transfer goes horribly wrong. Laurie now faces a terrifying showdown when the masked madman returns to Haddonfield. But this time, she’s ready for him.
Having Jamie Lee Curtis and John Carpenter back for this instalment is already a coup for Gordon Green. Clearly, they thought enough of the material that he and co-writer Danny McBride had produced to give one more shot at crafting a properly deserved sequel. And it works very well, so well in fact that we have, barring the original, the best Halloween movie to date.
Jamie Lee Curtis is absolutely fabulous as a world-weary Laurie Strode. Traumatised by the events of 40 years ago, she holds herself up in a cabin on the outskirts of Haddonfield, flanked by floodlights and CCTV cameras. The script does a very good job at showing how massive events can destroy an individual’s life and Curtis’ understated performance is a highlight here.
Judy Greer gets a nicely fleshed out role as Karen, Laurie’s daughter. She’s an incredibly talented actress and it’s a world away from the one-dimensional characters she’s been given to play in blockbusters like Jurassic World. The great thing about this film is that each of the main characters feels real. There’s no cheap sex scenes, the kills are well-placed and the dialogue is superbly written – you actually believe these are real people, rather than characters in a movie.
While the body count is high, Halloween doesn’t rely on the murders to progress the story forward. This is very much Laurie’s film as opposed to Michael’s and it works very well. There’s some nice juxtaposition as shots that would have involved Michael in the original, choose to put Laurie front and centre here. Halloween features some tasteful references to the original as well as its less-well received sequels. They’re not immediately obvious for those not too familiar with the series, but die-hards will enjoy seeing those homages pop up every now and then.
Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it
The film starts relatively slowly with a not quite successful side-plot involving two investigative journalists, but once Michael Myers gets his mask back, the film rarely lets up until the end. Populated by enough kills and scares to keep the audience happy, this is a Halloween movie that doesn’t rely too much on jump scares. There’s a few, but they’re nicely filmed which helps lift them above the mundane.
To look at, this is a film that is head and shoulders above anything else in the genre. Gordon Green uses incredibly fluid camera techniques that almost mimic those of the original. In one extended sequence, Myers moves in and out of shot as the camera follows him from house to house, selecting his next victim. With no cuts in between, it’s a stunning scene to watch and very effective.
Thankfully, the writing duo has decided to pass on giving Michael anything resembling a back story. The embodiment of ‘pure evil’ as Samuel Loomis once put it, Myers needn’t have any motives – and that’s what makes him so terrifying. In fact, his first kill here reaffirms his evil characteristics and it’s clear that David Gordon Green and Danny McBride were aiming for this take on the character.
Then there’s the score. John Carpenter has returned to craft new music for this instalment and it is by far the best score in the series, possibly even better than the original. That haunting Halloween theme tune is back, but upgraded with guitar riffs and electronic percussion. It’s a fabulous update that works perfectly with the modern characters and an older Michael.
While it’s true that the film isn’t out-and-out scary, the finale is exquisite as Laurie and Michael come face-to-face once again. Only the abrupt ending and forgetting of some key characters lets it down. After all, what’s the point in caring about a character and never learning of their fate?
Overall, Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it. While this is sure to make bucket loads at the box-office, it feels like it was crafted with care by a writing team and director that absolutely adores the series. It’s a must watch.
https://moviemetropolis.net/2018/10/20/halloween-2018-review-a-true-successor-to-the-original/
Fast-forward to 2009 and Rob Zombie directs the sequel to his reasonably successful remake of Halloween, but it was poorly received by critics and audiences alike. Why? Well Zombie’s grungy, rock-anthem vibe didn’t really sit too well with Michael Myers and the result was a distasteful and messy outing that set the franchise back nearly 10 years.
Of course, in between 1978 and 2009, the series was ripped apart, put back together again until it was a shadow of its former self. Anyone remember Busta Rhymes doing a vague impression of a karate master in Halloween: Resurrection? Best forget about that.
Nevertheless, director David Gordon Green, a lifetime fan of Carpenter’s iconic original is in the chair to helm a direct sequel to the 1978 classic. That’s right, it forgoes every single film apart from the first. But is it a worthy sequel to one of the greatest horror films of all time?
It’s been 40 years since Laurie Strode survived a vicious attack from crazed killer Michael Myers on Halloween night. Locked up in an institution, Myers manages to escape when his bus transfer goes horribly wrong. Laurie now faces a terrifying showdown when the masked madman returns to Haddonfield. But this time, she’s ready for him.
Having Jamie Lee Curtis and John Carpenter back for this instalment is already a coup for Gordon Green. Clearly, they thought enough of the material that he and co-writer Danny McBride had produced to give one more shot at crafting a properly deserved sequel. And it works very well, so well in fact that we have, barring the original, the best Halloween movie to date.
Jamie Lee Curtis is absolutely fabulous as a world-weary Laurie Strode. Traumatised by the events of 40 years ago, she holds herself up in a cabin on the outskirts of Haddonfield, flanked by floodlights and CCTV cameras. The script does a very good job at showing how massive events can destroy an individual’s life and Curtis’ understated performance is a highlight here.
Judy Greer gets a nicely fleshed out role as Karen, Laurie’s daughter. She’s an incredibly talented actress and it’s a world away from the one-dimensional characters she’s been given to play in blockbusters like Jurassic World. The great thing about this film is that each of the main characters feels real. There’s no cheap sex scenes, the kills are well-placed and the dialogue is superbly written – you actually believe these are real people, rather than characters in a movie.
While the body count is high, Halloween doesn’t rely on the murders to progress the story forward. This is very much Laurie’s film as opposed to Michael’s and it works very well. There’s some nice juxtaposition as shots that would have involved Michael in the original, choose to put Laurie front and centre here. Halloween features some tasteful references to the original as well as its less-well received sequels. They’re not immediately obvious for those not too familiar with the series, but die-hards will enjoy seeing those homages pop up every now and then.
Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it
The film starts relatively slowly with a not quite successful side-plot involving two investigative journalists, but once Michael Myers gets his mask back, the film rarely lets up until the end. Populated by enough kills and scares to keep the audience happy, this is a Halloween movie that doesn’t rely too much on jump scares. There’s a few, but they’re nicely filmed which helps lift them above the mundane.
To look at, this is a film that is head and shoulders above anything else in the genre. Gordon Green uses incredibly fluid camera techniques that almost mimic those of the original. In one extended sequence, Myers moves in and out of shot as the camera follows him from house to house, selecting his next victim. With no cuts in between, it’s a stunning scene to watch and very effective.
Thankfully, the writing duo has decided to pass on giving Michael anything resembling a back story. The embodiment of ‘pure evil’ as Samuel Loomis once put it, Myers needn’t have any motives – and that’s what makes him so terrifying. In fact, his first kill here reaffirms his evil characteristics and it’s clear that David Gordon Green and Danny McBride were aiming for this take on the character.
Then there’s the score. John Carpenter has returned to craft new music for this instalment and it is by far the best score in the series, possibly even better than the original. That haunting Halloween theme tune is back, but upgraded with guitar riffs and electronic percussion. It’s a fabulous update that works perfectly with the modern characters and an older Michael.
While it’s true that the film isn’t out-and-out scary, the finale is exquisite as Laurie and Michael come face-to-face once again. Only the abrupt ending and forgetting of some key characters lets it down. After all, what’s the point in caring about a character and never learning of their fate?
Overall, Halloween is a resounding success. It takes what audiences loved about the original and updates them in a sequel that, while not being wholly original, respects what came before it. While this is sure to make bucket loads at the box-office, it feels like it was crafted with care by a writing team and director that absolutely adores the series. It’s a must watch.
https://moviemetropolis.net/2018/10/20/halloween-2018-review-a-true-successor-to-the-original/
GameCritics (290 KP) rated Grand Theft Auto V in Video Games
Sep 21, 2017
Grand Theft Auto V on the Playstation 4 is a no-brainer, just as easy as the decision to get your favorite movie on Blu-ray. With this latest version, Rockstar’s latest game is no longer just a masterpiece. It’s now a state-of-the-art technical marvel.
Critic- Tom Chick
Original Score: 5 out of 5
Read Review: http://www.quartertothree.com/fp/2014/12/19/already-played-grand-theft-auto-v-well-now-time-play/
Original Score: 5 out of 5
Read Review: http://www.quartertothree.com/fp/2014/12/19/already-played-grand-theft-auto-v-well-now-time-play/
GameCritics (290 KP) rated XCOM 2: War of the Chosen in Video Games
Oct 1, 2017
The Chosen (2 more)
Makes you care about your squads even more
Overhauls the base game magnificently
Audio bugs (2 more)
Framerate stuttering
Repeating cutscenes
War of the Chosen overhauls the already fabulous XCOM 2 and turns it into absolutely essential fare. The introduction of the Chosen, the soldier bonding system, and the photobooth mode
Critic- Neil Bolt
Original Score: 9 out of 10
Read Review: http://www.psu.com/review/34260/xcom-2-war-of-the-chosen-review
Original Score: 9 out of 10
Read Review: http://www.psu.com/review/34260/xcom-2-war-of-the-chosen-review
Suswatibasu (1703 KP) rated A Christmas Carol in Books
Oct 10, 2017 (Updated Oct 10, 2017)
The only Christmas story
There have been hundreds of adaptations of this book, and yet this will be the only classic version. It is the original redemption novella. The treatment of the poor and the ability of a self-interested man absolving himself by transforming into a more sympathetic character are the key themes of the story. With A Christmas Carol, Charles Dickens captured the essence of the mid-Victorian revival of the Christmas holiday.
Lenard (726 KP) rated Sausage Party (2016) in Movies
Oct 16, 2017
Food looks to humanity as gods who will release them from the mundanity and oppression of their shelf life. But, it was a lie created by the original settlers to disguise the horrors of life outside. Lots of racial and ethnic humor influenced by Mel Brooks ensues. I would have felt a little better if Lavosh was not the Middle Eastern bread since Armenia is neither Muslim or Middle Eastern, but creative license
Dean (6927 KP) rated Hardcore Henry (2016) in Movies
Oct 24, 2017 (Updated Jul 27, 2019)
Original idea (1 more)
Good effects for the budget
Full throttle action
A decent indie film experienced entirely in first person view point of the main character. It does feel a bit like a call of duty video game but cranked up to maximum action and speed. The action scenes are crazy as is plot. Along with the thumping sound track this film feels like a roller coaster for the eyes and ears. Definitely worth checking out!