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The Mongols and the Islamic World: From Conquest to Conversion
Book
An epic historical consideration of the Mongol conquest of Western Asia and the spread of Islam...
Gilmore Girls - Season 1
8.2
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TV Season
The first season of Gilmore Girls introduces Lorelai Gilmore (Lauren Graham) and her...
Bob Mann (459 KP) rated They Shall Not Grow Old (2018) in Movies
Sep 28, 2021
We DO remember them.
“Trapped in a Charlie Chaplin World”. So says director Peter Jackson in a post-screening discussion with Mark Kermode, describing early black and white documentary footage. Whereas modern film runs at 24 fps, most of the old footage is hand cranked, with speeds as low as 12 fps which leads to its jerky nature. Jackson in this project with the Imperial War Museum took their WW1 footage and put it through a ‘pipeline process. This cleaned-up and restored the original footage; used clever computer interpolation to add in the missing 6 to 12 frames per second; and then colourised it.
The results are outstanding. Jackson wisely focuses the film on the specific slice of WW1 action from the trenches. And those anonymous figures become real, live, breathing humans on screen. It is obviously tragic that some (and as commented by Jackson, many in one scene) are not to be breathing humans for much longer.
These effects take a while to kick in. The early scenes in the documentary are in the original black and white, describing the recruitment process, and how many of the recruits were under-age. (To explain the varied comments in the film, they should have been 18, although officially shouldn’t have been sent overseas until 19).
It is when the troops arrive in France that we suddenly go from black-and-white to the fully restored and colourised footage, and it is a gasp-inducing moment.
Audio magic
All of the audio commentary is from original BBC recordings of war veterans recounting their actual experiences in the trench. Some sound like heroes; some sound like rogues; all came out changed men. Supporting music of WW1 ditties, including the incredibly rude “Mademoiselle from Armentières” over the end credits, is provided by Plan 9.
But equally impressive is the dubbing of the characters onscreen. Jackson employed forensic lip-readers to determine what the soldiers on-screen were saying, and reproduced the speech using appropriate regional accents for the regiments concerned. Jackson also recounts how the words associated with a “pep-talk” speech to troops by an officer he found on an original slip of paper within the regimental records: outstanding. Added sound effects include real-life shelling by the New Zealand army. It all adds to the overall atmosphere of the film.
3D = less
The film itself is a masterpiece of technical innovation that will change in the future the way in which we should be able to see this sort of early film footage forever. As a documentary it’s near-perfection. But if I have a criticism of the cinema showing I attended it is that the 3D tended to detract rather than add to the film. Perhaps this is just my eyesight, but 3D always tends to make images slightly more blurry. Where (like “Gravity”) there are great 3D effects to showcase, it’s worth the slight negative to get the massive positive. But here, there was no such benefit: 2D would have been better. For those in the UK (and possibly through other broadcasters worldwide) the film is being shown on BBC2 tonight (11/11/18) at 9:30: I will be watching it again to compare and contrast.
Final Thoughts
Jackson dedicated the film to his grandfather. And almost all of us Brits will have relatives affected by this “war to end all wars”. In my case, my grandfather was shot and severely wounded at Leuze Wood on the Somme, lying in the mud for four days and four nights before being recovered… by the Germans! Fortunately he was well-treated and, although dying young, recovered enough to father my father – else I wouldn’t be here today writing this. On this Rememberance Sunday, 100 years on, it is a time for us to truly remember the sacrifice these men and boys gave to what, all in the film agree, was a pretty obstinate and pointless conflict.
I’ll finish the review by reproducing one of the war poems of my wife’s Uncle Ivor (available in a collection here), written on 11/11/18 a hundred years ago:
Peace
At last O Lord the Day has come,
And hushed is now the noise of guns.
Peace is proclaimed over land and sea,
Our heartfelt thanks we give to Thee.
I thank thee Father for Thy care,
That thou hasn’t answered all my prayers.
This day I see in manhood’s strength,
The Peace we longed for, come at length.
O may my future actions be,
Worthy of all Thy care to me.
Let me forget not Thy Great Love,
Remembering chums who live Above.
I.G.H. 11/11/1918, France.
The results are outstanding. Jackson wisely focuses the film on the specific slice of WW1 action from the trenches. And those anonymous figures become real, live, breathing humans on screen. It is obviously tragic that some (and as commented by Jackson, many in one scene) are not to be breathing humans for much longer.
These effects take a while to kick in. The early scenes in the documentary are in the original black and white, describing the recruitment process, and how many of the recruits were under-age. (To explain the varied comments in the film, they should have been 18, although officially shouldn’t have been sent overseas until 19).
It is when the troops arrive in France that we suddenly go from black-and-white to the fully restored and colourised footage, and it is a gasp-inducing moment.
Audio magic
All of the audio commentary is from original BBC recordings of war veterans recounting their actual experiences in the trench. Some sound like heroes; some sound like rogues; all came out changed men. Supporting music of WW1 ditties, including the incredibly rude “Mademoiselle from Armentières” over the end credits, is provided by Plan 9.
But equally impressive is the dubbing of the characters onscreen. Jackson employed forensic lip-readers to determine what the soldiers on-screen were saying, and reproduced the speech using appropriate regional accents for the regiments concerned. Jackson also recounts how the words associated with a “pep-talk” speech to troops by an officer he found on an original slip of paper within the regimental records: outstanding. Added sound effects include real-life shelling by the New Zealand army. It all adds to the overall atmosphere of the film.
3D = less
The film itself is a masterpiece of technical innovation that will change in the future the way in which we should be able to see this sort of early film footage forever. As a documentary it’s near-perfection. But if I have a criticism of the cinema showing I attended it is that the 3D tended to detract rather than add to the film. Perhaps this is just my eyesight, but 3D always tends to make images slightly more blurry. Where (like “Gravity”) there are great 3D effects to showcase, it’s worth the slight negative to get the massive positive. But here, there was no such benefit: 2D would have been better. For those in the UK (and possibly through other broadcasters worldwide) the film is being shown on BBC2 tonight (11/11/18) at 9:30: I will be watching it again to compare and contrast.
Final Thoughts
Jackson dedicated the film to his grandfather. And almost all of us Brits will have relatives affected by this “war to end all wars”. In my case, my grandfather was shot and severely wounded at Leuze Wood on the Somme, lying in the mud for four days and four nights before being recovered… by the Germans! Fortunately he was well-treated and, although dying young, recovered enough to father my father – else I wouldn’t be here today writing this. On this Rememberance Sunday, 100 years on, it is a time for us to truly remember the sacrifice these men and boys gave to what, all in the film agree, was a pretty obstinate and pointless conflict.
I’ll finish the review by reproducing one of the war poems of my wife’s Uncle Ivor (available in a collection here), written on 11/11/18 a hundred years ago:
Peace
At last O Lord the Day has come,
And hushed is now the noise of guns.
Peace is proclaimed over land and sea,
Our heartfelt thanks we give to Thee.
I thank thee Father for Thy care,
That thou hasn’t answered all my prayers.
This day I see in manhood’s strength,
The Peace we longed for, come at length.
O may my future actions be,
Worthy of all Thy care to me.
Let me forget not Thy Great Love,
Remembering chums who live Above.
I.G.H. 11/11/1918, France.
David McK (3188 KP) rated The Lord of the Rings: The Rings of Power in TV
Jul 2, 2023
Apparently (according to Google) the most expensive show ever made - with a price tag of £800m - this is something I had heard described as LOTR fan-fic.
Which I can kinda see.
The money is definitely all there on the screen, with wide sweeping shots that remind the viewer of the Peter Jackson films, but I do have to say I did find this to be a little bit on the slow side; only really picking up any sense of urgency on the home stretch at around about episode 6 (of 8).
And, yes, I know what some will say - Tolkien himself spent pages on pages describing countryside - but it doesn't really make for a gripping narrative.
Anyway, this is set centuries before the LoTR, taking its cues from The Silmarillion, and portrays a very different take on Galadriel than that shown by Cate Blanchett, alongside some old friends and (in particular) foes.
Whether it's worth a watch or not depends on your patience for the slow bits, and your interest in the world it inhabits. For me, it just about swung in favour.
Which I can kinda see.
The money is definitely all there on the screen, with wide sweeping shots that remind the viewer of the Peter Jackson films, but I do have to say I did find this to be a little bit on the slow side; only really picking up any sense of urgency on the home stretch at around about episode 6 (of 8).
And, yes, I know what some will say - Tolkien himself spent pages on pages describing countryside - but it doesn't really make for a gripping narrative.
Anyway, this is set centuries before the LoTR, taking its cues from The Silmarillion, and portrays a very different take on Galadriel than that shown by Cate Blanchett, alongside some old friends and (in particular) foes.
Whether it's worth a watch or not depends on your patience for the slow bits, and your interest in the world it inhabits. For me, it just about swung in favour.
Morecambe & Wise Christmas Special
Full Cast, Eddie Braben, Eric Morecambe and Ernie Wise
Book
A rib-tickling collection of seasonal sketches, songs and plays from Eric and Ernie's BBC television...
Charlie Cobra Reviews (1840 KP) rated Spider-Man: Far From Home (2019) in Movies
Jul 7, 2020
Spider-Man Knocks It Out Of The Park In This Summer Vacation Superhero Hybrid
Spider-Man Far From Home is a 2019 superhero movie directed by Jon Watts and written by Chris Mckenna and Erik Sommers. It was co-produced by Columbia Pictures and Marvel Studios and distributed by Sony Pictures Releasing. The movie stars Tom Holland, Zendaya, Samuel Jackson, Cobie Smulders, Jon Favreau, and Jake Gyllenhaal.
The Midtown School of Science and Technology in New York City organizes a two-week summer field trip to Europe to accommodate the students who were resurrected by "the blip". Peter plans to avoid heroics and confess his feelings to "MJ" on this trip but is warned by Happy that Nick Fury is trying to get in contact with him. Distraught about the events in Endgame and the questions overwhelming him about Tony Stark, Peter decides to not answer when Fury calls him causing Fury to seek him out on his vacation.
This movie was phenomenal. It was really awesome and a perfect summer action blockbuster. Marvel did not drop the ball with this one and I'm so glad I saw it before anybody spoiled it for me because it had plenty of surprises. Especially the after credits scenes, the one after the movie finishes and the one at the very end after the credits. Jake Gyllenhaal was perfect as Mysterio and his acting was on point and Ned (Jacob Battalon) was awesome as Pete's best friend and wing-man in this movie too. The action was great and the effects were spectacular especially for Mysterio and his powers, they really did a amazing job. I really couldn't find much that I didn't like in this movie other than a couple ways the plot or story didn't unfold in a way that I liked; but that's probably me just being picky and a super fan from the comics and watching the cartoons. Also a part having to do with Peter taking a major injury and kind of just shrugging it off when he should have been hurt worse. Zendaya did a good job of portraying "MJ" and showing her come out of her shell a little more too which I though was also cool. I give this movie a 8/10 and I also give it my "Must See Seal of Approval" If you haven't seen this movie yet, what are you waiting for?
The Midtown School of Science and Technology in New York City organizes a two-week summer field trip to Europe to accommodate the students who were resurrected by "the blip". Peter plans to avoid heroics and confess his feelings to "MJ" on this trip but is warned by Happy that Nick Fury is trying to get in contact with him. Distraught about the events in Endgame and the questions overwhelming him about Tony Stark, Peter decides to not answer when Fury calls him causing Fury to seek him out on his vacation.
This movie was phenomenal. It was really awesome and a perfect summer action blockbuster. Marvel did not drop the ball with this one and I'm so glad I saw it before anybody spoiled it for me because it had plenty of surprises. Especially the after credits scenes, the one after the movie finishes and the one at the very end after the credits. Jake Gyllenhaal was perfect as Mysterio and his acting was on point and Ned (Jacob Battalon) was awesome as Pete's best friend and wing-man in this movie too. The action was great and the effects were spectacular especially for Mysterio and his powers, they really did a amazing job. I really couldn't find much that I didn't like in this movie other than a couple ways the plot or story didn't unfold in a way that I liked; but that's probably me just being picky and a super fan from the comics and watching the cartoons. Also a part having to do with Peter taking a major injury and kind of just shrugging it off when he should have been hurt worse. Zendaya did a good job of portraying "MJ" and showing her come out of her shell a little more too which I though was also cool. I give this movie a 8/10 and I also give it my "Must See Seal of Approval" If you haven't seen this movie yet, what are you waiting for?
Bob Mann (459 KP) rated Mortal Engines (2018) in Movies
Sep 28, 2021
At last, the hilarious Brexit comedy we’ve all been waiting for.
As comedy goes it’s classic gold! London has been transferred, presumably via a futuristic big-arsed forklift truck of some kind, onto a huge chassis and is now chugging its way across mainland Europe. Needing fuel, it has the capability to gobble-up other roving towns and cities (take that Barnier!) which London ‘digests’ (smoke that Tusk!). Curiously, the captured cities’ inhabitants are not exterminated but integrated into the City’s population: so much for any anti-immigration policy! (LOL).
But all doesn’t go entirely smoothly for the UK capital. The Lord Mayor of London (Patrick Malahide) declares “We should never have gone into Europe. It’s the biggest mistake we ever made”. (Classic: how we SNORTED with laughter!)
Cities on wheels. London in hot pursuit of a Bavarian mining town. (Some things you just write, and then have to do a double take!). (Source: Universal Pictures International).
Stuffing it squarely to the ‘remainers’, London makes its own future. “It’s time to show the world how strong London can be”. Having conquered most of Europe, it’s time to set its sights on new markets to conquer: so London takes the Chinese on! (Now the tears of laughter are flowing freely!) Trade deals have never been more entertaining since “Star Wars: The Phantom Menace”!
Well, perhaps not
OK, so in the interests of ‘advertising standards’, I’d better make clear before you rush out to the cinema expecting a comedy feature that my tongue is firmly in my cheek here. For “Mortal Engines” is the latest sci-fi feature from Peter Jackson. But when viewed from a Brexit perspective, it’s friggin’ hilarious!
In terms of plot, this (like “Waterworld”) makes clever use of the Universal logo to set the agenda. The world has been decimated with a worldwide war – though clearly one that selectively destroyed bits of London and not others! – and the survivors must try to survive in any way they can. Settlements are divided between those that are ‘static’ and those (like London) that are mobile and constantly evolving: “Municipal Darwinism” as it is hysterically described. But London, or rather the power-crazed Londoner Thaddeus Valentine (Hugo Weaving), wants revolution rather than evolution and he is working on development of one of the super-weapons that started the world’s demise in the first place.
But Hester Shaw (Hera Hilmar), separated when young from her mother Pandora (yes, she has a box and we’ve seen it: wink, wink) is intent on stopping him, since she is on a personal path of vengence. Teaming up with Londoner Tom (Robert Sheehan) and activist Anna Fang (Jihae) they must face both Thaddeus and the ever-relentless Shrike (Stephen Lang) to try to derail the destructive plan.
“I’m not subtle”
So says Anna Fang, but then neither is this movie. The film is loud and action-filled and (as a significant plus) visually extremely impressive with it. I’m not a great fan of excessive CGI but here it is essential, and the special-effects team do a great job. The production design is tremendous – a lot of money has been thrown at this – and the costume design inventive, a high-spot (again snortworthy) being the Beefeater guards costumes!
Where the film really crashes, like a post-Brexit stock market, is with the dialogue. The screenplay by Jackson himself, with his regular writers Fran Walsh and Phillipa Boyens contains some absolute clunkers, notwithstanding the unintended LOL-worthy Brexit irony. It’s jaw-droppingly bad, believe me.
The turns
The only real “name” in the whole film is Jackson-favourite Hugo Weaving. Just about everyone else in the cast is pretty well unknown, and in many cases it shows. Standing head and shoulders though for me over the rest of the cast was Icelandic actress Hera Hilmar, who strikes a splendidly feisty pose as the mentally and physically scarred Hester. I look forward to seeing what she does next.
Plagerism: the movie
Story-wise, there’s not a sci-fi film that’s not been looted, and a number of other films seem to be plundered too. (I can’t comment on how much of this comes from the source book by Philip Reeve). The Londonmobile looks for all the world like Monty Python’s “Crimson Permanent Assurance Company”; the teenage female lead is Sarah Connors, relentlessly pursued by The Terminator; the male lead is archaologist cum hot-shot pilot Indiana Solo, leather jacket and all; there is a Blade Runner moment; a battle that is a meld of “The Great Wall” and Morannon from “The Lord of the Rings: The Two Towers”; a less sophisticated aerial location from “The Empire Strikes Back”; and another classic Star Wars moment (without the words being actually said!).
A case of the Jackson Pollocks
Now I’m loathe to say anything bad about director Peter Jackson, after his breathtakingly memorable “They Shall Not Grown Old“. And the film has its moments of flair, most memorably a “life flashing before your eyes scene” that I found genuinely moving. But overall, as an actioner, it’s a bit of a mess.
It’s a long way from being the worse film I’ve seen this year by a long stroke – it kept me interested and amused in equal measure for the running time. But I think given it’s initially bombed at the Box Office, any plans Jackson had to deliver a series of these movies might need to be self-funded.
But all doesn’t go entirely smoothly for the UK capital. The Lord Mayor of London (Patrick Malahide) declares “We should never have gone into Europe. It’s the biggest mistake we ever made”. (Classic: how we SNORTED with laughter!)
Cities on wheels. London in hot pursuit of a Bavarian mining town. (Some things you just write, and then have to do a double take!). (Source: Universal Pictures International).
Stuffing it squarely to the ‘remainers’, London makes its own future. “It’s time to show the world how strong London can be”. Having conquered most of Europe, it’s time to set its sights on new markets to conquer: so London takes the Chinese on! (Now the tears of laughter are flowing freely!) Trade deals have never been more entertaining since “Star Wars: The Phantom Menace”!
Well, perhaps not
OK, so in the interests of ‘advertising standards’, I’d better make clear before you rush out to the cinema expecting a comedy feature that my tongue is firmly in my cheek here. For “Mortal Engines” is the latest sci-fi feature from Peter Jackson. But when viewed from a Brexit perspective, it’s friggin’ hilarious!
In terms of plot, this (like “Waterworld”) makes clever use of the Universal logo to set the agenda. The world has been decimated with a worldwide war – though clearly one that selectively destroyed bits of London and not others! – and the survivors must try to survive in any way they can. Settlements are divided between those that are ‘static’ and those (like London) that are mobile and constantly evolving: “Municipal Darwinism” as it is hysterically described. But London, or rather the power-crazed Londoner Thaddeus Valentine (Hugo Weaving), wants revolution rather than evolution and he is working on development of one of the super-weapons that started the world’s demise in the first place.
But Hester Shaw (Hera Hilmar), separated when young from her mother Pandora (yes, she has a box and we’ve seen it: wink, wink) is intent on stopping him, since she is on a personal path of vengence. Teaming up with Londoner Tom (Robert Sheehan) and activist Anna Fang (Jihae) they must face both Thaddeus and the ever-relentless Shrike (Stephen Lang) to try to derail the destructive plan.
“I’m not subtle”
So says Anna Fang, but then neither is this movie. The film is loud and action-filled and (as a significant plus) visually extremely impressive with it. I’m not a great fan of excessive CGI but here it is essential, and the special-effects team do a great job. The production design is tremendous – a lot of money has been thrown at this – and the costume design inventive, a high-spot (again snortworthy) being the Beefeater guards costumes!
Where the film really crashes, like a post-Brexit stock market, is with the dialogue. The screenplay by Jackson himself, with his regular writers Fran Walsh and Phillipa Boyens contains some absolute clunkers, notwithstanding the unintended LOL-worthy Brexit irony. It’s jaw-droppingly bad, believe me.
The turns
The only real “name” in the whole film is Jackson-favourite Hugo Weaving. Just about everyone else in the cast is pretty well unknown, and in many cases it shows. Standing head and shoulders though for me over the rest of the cast was Icelandic actress Hera Hilmar, who strikes a splendidly feisty pose as the mentally and physically scarred Hester. I look forward to seeing what she does next.
Plagerism: the movie
Story-wise, there’s not a sci-fi film that’s not been looted, and a number of other films seem to be plundered too. (I can’t comment on how much of this comes from the source book by Philip Reeve). The Londonmobile looks for all the world like Monty Python’s “Crimson Permanent Assurance Company”; the teenage female lead is Sarah Connors, relentlessly pursued by The Terminator; the male lead is archaologist cum hot-shot pilot Indiana Solo, leather jacket and all; there is a Blade Runner moment; a battle that is a meld of “The Great Wall” and Morannon from “The Lord of the Rings: The Two Towers”; a less sophisticated aerial location from “The Empire Strikes Back”; and another classic Star Wars moment (without the words being actually said!).
A case of the Jackson Pollocks
Now I’m loathe to say anything bad about director Peter Jackson, after his breathtakingly memorable “They Shall Not Grown Old“. And the film has its moments of flair, most memorably a “life flashing before your eyes scene” that I found genuinely moving. But overall, as an actioner, it’s a bit of a mess.
It’s a long way from being the worse film I’ve seen this year by a long stroke – it kept me interested and amused in equal measure for the running time. But I think given it’s initially bombed at the Box Office, any plans Jackson had to deliver a series of these movies might need to be self-funded.
Stephen (210 KP) rated Heavenly Creatures (1994) in Movies
Mar 12, 2019
Wealthy and precocious teenager Juliet (Kate Winslet) transfers from England to Christchurch, New Zealand, with her family, and forms a bond with the quiet, brooding Pauline (Melanie Lynskey) through their shared love of Mario Lanza and their games of make believe. But when their parents begin to suspect that their increasingly intense friendship is becoming unhealthy, the girls decide to run away together, hatching a dark plan for those who threaten to keep them apart.
The movie is one of Peter Jackson’s earlier works, and demonstrates his unique sense of directing which featured in his first few films. Both Kate Winslett and Melanie Lynskey give outstanding performances - Melanie’s scowling face is especially disturbing.
Based on a true story, Jackson focuses a lot on the dream world element of the girls’ story, which I feel gives the film’s ending even more shock appeal.
I won’t spoil the ending, but let me say that the first time I saw the movie I felt so disturbed I felt as if I was actually there, and even now, when I rewatch the movie, I still get chills when the girls are walking down that path....
I appreciate that the film is not going to appeal to everyone, but the amazing performances of the two main characters, and the horrifying insight into how deep obsessive friendships can go, makes this an essential but very disturbing watch.
The movie is one of Peter Jackson’s earlier works, and demonstrates his unique sense of directing which featured in his first few films. Both Kate Winslett and Melanie Lynskey give outstanding performances - Melanie’s scowling face is especially disturbing.
Based on a true story, Jackson focuses a lot on the dream world element of the girls’ story, which I feel gives the film’s ending even more shock appeal.
I won’t spoil the ending, but let me say that the first time I saw the movie I felt so disturbed I felt as if I was actually there, and even now, when I rewatch the movie, I still get chills when the girls are walking down that path....
I appreciate that the film is not going to appeal to everyone, but the amazing performances of the two main characters, and the horrifying insight into how deep obsessive friendships can go, makes this an essential but very disturbing watch.
GW
Great Western Locomotives on the Main Line: Scenes from an Edwardian Railway
Book
With the final elimination of the broad gauge in the early 1890s, the Great Western Railway for the...
The Mersey Road Tunnels: The First Eighty Years in Pictures
Book
The story of the Queensway and Kingsway road tunnels, together known as the Mersey Road Tunnels, is...