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Movie Metropolis (309 KP) rated War Horse (2011) in Movies
Jun 11, 2019
Steven Spielberg is undoubtedly one of the world’s most loved directors and is without question, the king of blockbuster cinema. He thrilled us with dinosaurs in 1993’s blockbuster Jurassic Park, had us in tears with E.T. and had our hearts pumping out of our chests with the Indiana Jones series.
However, here, the ‘king’ relaxes a little and delves into proper old fashioned story telling with the emotional rollercoaster that is War Horse. Teaming up with John Williams once again, the duo delivers a beautiful score to accompany a beautifully shot film.
Jeremy Irvine stars alongside a full roster of celebrities including Harry Potter’s David Thewlis and Thor’s Tom Hiddlestone in what can only be described as one of Spielberg’s greatest films.
The film opens with some awe inspiring shots of the Devon countryside, with Albert Narracott (Jeremy Irvine) staring, masterfully at two horses in a field. Fast forward a few years and his alcoholic father Ted, played wonderfully by Peter Mullen purchases one of them in an auction, hoping to turn it into a plough horse. This horse becomes the focus of the entire film and is nicknamed Joey by Irvine’s character.
After the usual, Spielberg sentimentality, Joey is summoned to help the English army in the First World War. Obviously, this doesn’t go down too well with Albert and he promises that one day, they will find each other. It’s hard to describe just how heart-breaking these scenes are, as Joey is led away by his new trainer (Tom Hiddlestone) and all Albert can do is watch.
After being defeated by the Germans in a deadly ambush, Albert is informed that Hiddlestone’s character, Captain Nicholls has been killed in battle. Assuming the worst, Albert starts to prepare to either reunite with his beloved steed, or discover whether or not he has perished.
Spielberg has created a shockingly beautiful film as Joey loses Captain Nicholls and roams the countryside unmanned trying to escape the clutches of the German army. Unfortunately, on occasion, he runs right into them and becomes an artillery horse, pulling canons and other weapons.
The shots of no-man’s land as the horse time and time again escapes are breath-taking and show the scale of the destruction like nothing I’ve ever seen. Spielberg has a knack for scale and in War Horse, this is exceptionally poignant; shots of a horse graveyard and the grey barren landscape are examples of fine film-making. To say you’ll be in tears is somewhat of an understatement as Joey, terrified from the ordeal he is being taken through loses comrades, crashes through barbed wire and nearly gives up on life.
This coupled with John Williams best score since Jurassic Park ensures that this is a subtle blockbuster to be enjoyed by all.
However, the film isn’t perfect. On occasion, it delves into unnecessary sentimentality and Spielberg must’ve had a book of movie clichés with him at some points during the shoot, like the cheesy sunset ending and the token pulling through in the face of adversity. These are, however, small points in a film which is a spectacle to behold.
The animals no doubt steal the show, but their human counterparts do well in their roles. Jeremy Irvine is fabulous and was an unusual but totally justified choice for the part. David Thewlis shows how versatile he really is as an actor, playing the heartless landlord, ready to ship the Narracott family out of their farm.
War Horse is a film which hits with a huge dose of emotion. John Williams and Steven Spielberg are an unstoppable combination and what the film does best is show off its directors prowess as an artist, not a film-maker. The special effects are sparse because the story doesn’t require them, but when they are there, such as in the battle scenes, they help the story along, instead of hindering it.
It may not quite match the dizzy heights of Schindler’s List and Jurassic Park as Spielberg’s best, but it fits in between excellent Spielberg and spectacular Spielberg. Take some tissues and prepare yourself and you’ll be all set.
https://moviemetropolis.net/2012/01/22/review-war-horse-2012/
However, here, the ‘king’ relaxes a little and delves into proper old fashioned story telling with the emotional rollercoaster that is War Horse. Teaming up with John Williams once again, the duo delivers a beautiful score to accompany a beautifully shot film.
Jeremy Irvine stars alongside a full roster of celebrities including Harry Potter’s David Thewlis and Thor’s Tom Hiddlestone in what can only be described as one of Spielberg’s greatest films.
The film opens with some awe inspiring shots of the Devon countryside, with Albert Narracott (Jeremy Irvine) staring, masterfully at two horses in a field. Fast forward a few years and his alcoholic father Ted, played wonderfully by Peter Mullen purchases one of them in an auction, hoping to turn it into a plough horse. This horse becomes the focus of the entire film and is nicknamed Joey by Irvine’s character.
After the usual, Spielberg sentimentality, Joey is summoned to help the English army in the First World War. Obviously, this doesn’t go down too well with Albert and he promises that one day, they will find each other. It’s hard to describe just how heart-breaking these scenes are, as Joey is led away by his new trainer (Tom Hiddlestone) and all Albert can do is watch.
After being defeated by the Germans in a deadly ambush, Albert is informed that Hiddlestone’s character, Captain Nicholls has been killed in battle. Assuming the worst, Albert starts to prepare to either reunite with his beloved steed, or discover whether or not he has perished.
Spielberg has created a shockingly beautiful film as Joey loses Captain Nicholls and roams the countryside unmanned trying to escape the clutches of the German army. Unfortunately, on occasion, he runs right into them and becomes an artillery horse, pulling canons and other weapons.
The shots of no-man’s land as the horse time and time again escapes are breath-taking and show the scale of the destruction like nothing I’ve ever seen. Spielberg has a knack for scale and in War Horse, this is exceptionally poignant; shots of a horse graveyard and the grey barren landscape are examples of fine film-making. To say you’ll be in tears is somewhat of an understatement as Joey, terrified from the ordeal he is being taken through loses comrades, crashes through barbed wire and nearly gives up on life.
This coupled with John Williams best score since Jurassic Park ensures that this is a subtle blockbuster to be enjoyed by all.
However, the film isn’t perfect. On occasion, it delves into unnecessary sentimentality and Spielberg must’ve had a book of movie clichés with him at some points during the shoot, like the cheesy sunset ending and the token pulling through in the face of adversity. These are, however, small points in a film which is a spectacle to behold.
The animals no doubt steal the show, but their human counterparts do well in their roles. Jeremy Irvine is fabulous and was an unusual but totally justified choice for the part. David Thewlis shows how versatile he really is as an actor, playing the heartless landlord, ready to ship the Narracott family out of their farm.
War Horse is a film which hits with a huge dose of emotion. John Williams and Steven Spielberg are an unstoppable combination and what the film does best is show off its directors prowess as an artist, not a film-maker. The special effects are sparse because the story doesn’t require them, but when they are there, such as in the battle scenes, they help the story along, instead of hindering it.
It may not quite match the dizzy heights of Schindler’s List and Jurassic Park as Spielberg’s best, but it fits in between excellent Spielberg and spectacular Spielberg. Take some tissues and prepare yourself and you’ll be all set.
https://moviemetropolis.net/2012/01/22/review-war-horse-2012/
Bob Mann (459 KP) rated Deepwater Horizon (2016) in Movies
Sep 29, 2021
“Full of sound and fury, Signifying nothing” could be a summary of this modern-age disaster movie. In 2010 the “Deepwater Horizon” drilling rig off the coast of Louisiana failed in spectacular fashion, bursting into flames and spewing millions of barrels of crude oil into the Gulf of Mexico in what was the worst oil-spill in American history. Mark Wahlberg plays the well-respected electrical ‘Mr fixit’ Mike Williams on the rig, reporting to the Operations Manager Jimmy Harrell (Kurt Russell).
The exploratory project is way-behind and BP are not happy. Big-wigs from the company add support to Donald Vidrine, the BP site leader, in applying mounting pressure on Harrell to press on regardless without all the necessary and time-consuming tests by Schlumberger being completed. Rogue numbers in further tests are waved away as ‘glitches’. A familiar story of corporate greed and pressure overriding the expert’s better judgment.
When disaster strikes it strikes quickly, with some spectacular and exciting special effects that leave the audience especially hot under the collar. Female support is provided by the comely Andrea Fleytas (Gina Rodriguez), given the almost impossible job of keeping the floating bomb on station as chaos reigns about her. As an audience we are back on familiar ground here from classic Irwin Allen disaster movies such as “The Towering Inferno” and “The Poseidon Adventure”. Who will make it, and who won’t?
A more telling question here is “Do we care?” and unfortunately for the film, the answer is “Not really”. This feels a callous thing to say when this was a real and recent event and eleven people and – as touchingly illustrated at the end of the film in tribute – many of them family men with young kids, never went home again. But film-wise, we only really get bought into the fate of Williams, whose back-story, with cute wife (Kate Hudson) and cute daughter (Stella Allen) we get to meet and sympathize with.
We get a minimalist view of Fleytas’s backstory, but only enough to provide a recurring “Mustang” reference. And that’s it. All the other characters are just two-dimensional “rig crew”: cannon-fodder for the special effects team. The screenplay by Matthew Sand and Matthew Carnahan really doesn’t deliver enough heft to get us bought in.
While the special effects are good, the sound design isn’t, with much of the dialogue being incomprehensible.
All the acting is fine, with the ever-watchable John Malkovich nicely portraying the corporate head you love to hate. Wahlberg as well delivers enough range to make you forget in this “action mode” that he was also in “Ted”. And Rodriguez as a junior lead holds her own against the big guns in what is a creditable performance in a big film role for her.
While “Lone Survivor”/”Battleship” director Peter Berg neatly provides an insight into life on and around rigs, and (via subtitles) descriptions of the drilling process which I found interesting, this comes down to the sum of a tense build up, an hour of frenetic disaster, and then a whimper of an ending. Where were some of the dramatic scenes of conflict in the congressional hearing that the film’s opening implies might come? Where are the scenes of ecological disaster and local financial ruin to add emotional angles to the story? None of this is really exploited and the whole concoction comes across a bit “meh” as a result. Not a bad film by any means. But not one I will remember in a month or two’s time.
The exploratory project is way-behind and BP are not happy. Big-wigs from the company add support to Donald Vidrine, the BP site leader, in applying mounting pressure on Harrell to press on regardless without all the necessary and time-consuming tests by Schlumberger being completed. Rogue numbers in further tests are waved away as ‘glitches’. A familiar story of corporate greed and pressure overriding the expert’s better judgment.
When disaster strikes it strikes quickly, with some spectacular and exciting special effects that leave the audience especially hot under the collar. Female support is provided by the comely Andrea Fleytas (Gina Rodriguez), given the almost impossible job of keeping the floating bomb on station as chaos reigns about her. As an audience we are back on familiar ground here from classic Irwin Allen disaster movies such as “The Towering Inferno” and “The Poseidon Adventure”. Who will make it, and who won’t?
A more telling question here is “Do we care?” and unfortunately for the film, the answer is “Not really”. This feels a callous thing to say when this was a real and recent event and eleven people and – as touchingly illustrated at the end of the film in tribute – many of them family men with young kids, never went home again. But film-wise, we only really get bought into the fate of Williams, whose back-story, with cute wife (Kate Hudson) and cute daughter (Stella Allen) we get to meet and sympathize with.
We get a minimalist view of Fleytas’s backstory, but only enough to provide a recurring “Mustang” reference. And that’s it. All the other characters are just two-dimensional “rig crew”: cannon-fodder for the special effects team. The screenplay by Matthew Sand and Matthew Carnahan really doesn’t deliver enough heft to get us bought in.
While the special effects are good, the sound design isn’t, with much of the dialogue being incomprehensible.
All the acting is fine, with the ever-watchable John Malkovich nicely portraying the corporate head you love to hate. Wahlberg as well delivers enough range to make you forget in this “action mode” that he was also in “Ted”. And Rodriguez as a junior lead holds her own against the big guns in what is a creditable performance in a big film role for her.
While “Lone Survivor”/”Battleship” director Peter Berg neatly provides an insight into life on and around rigs, and (via subtitles) descriptions of the drilling process which I found interesting, this comes down to the sum of a tense build up, an hour of frenetic disaster, and then a whimper of an ending. Where were some of the dramatic scenes of conflict in the congressional hearing that the film’s opening implies might come? Where are the scenes of ecological disaster and local financial ruin to add emotional angles to the story? None of this is really exploited and the whole concoction comes across a bit “meh” as a result. Not a bad film by any means. But not one I will remember in a month or two’s time.
Movie Metropolis (309 KP) rated Venom (2018) in Movies
Jun 10, 2019
Do you like time travel
“It feels like a movie born from a different era.” That is the thought that immediately flooded my brain upon leaving the cinema after watching Venom. Now, that’s not necessarily a bad thing of course. Hundreds of amazing films have been born well before superhero films became the successful genre they are today.
Nevertheless, in Venom’s case, what we have is a film that struggles to create a consistent tone throughout its rather succinct running time. But is the film still a success for Sony?
Journalist Eddie Brock (Tom Hardy) is trying to take down Carlton Drake (Riz Ahmed), the notorious and brilliant founder of the Life Foundation. While investigating one of Drake’s experiments, Eddie’s body merges with the alien Venom – leaving him with superhuman strength and power. Twisted, dark and fuelled by rage, Venom tries to control the new and dangerous abilities that Eddie finds so intoxicating.
Director of the absolutely brilliant, Zombieland and its upcoming sequel, Ruben Fleischer seems like the perfect choice to helm a solo movie for Peter Parker’s arch nemesis, but the result is muddled – speckled with excellent moments that are lowered by frequently jarring editing techniques and a brawl for identity. Whether that’s down to studio interference or just a misunderstanding of the source material is up for debate.
Let’s start with the best bit: the cast. Venom’s cast is of such a high quality, it really needs reeling off to be believed. We’ve got Tom Hardy, Michelle Williams and Riz Ahmed all in lead parts. Hardy is his ever-charming self in a role that is vastly different from his portrayal of Bane in The Dark Knight Rises. His ‘bromance’ with Venom is by far the standout of the entire film with witty dialogue and amusing physical comedy. In particular, one scene set in an lobster restaurant had the audience in stitches.
Unfortunately, Michelle Williams, one of our most talented actresses is wasted in a thankless role as Brock’s girlfriend, Annie. She’s supposed to be a lawyer, but apart from a few lines of dialogue explaining that fact, she’s completely by-the-numbers WAG. Riz Ahmed suffers a similar fate. His Carlton Drake is so pantomime villain-esque, you half expect him to start twirling a moustache.
Then there’s the film itself. The special effects rarely rise above adequate and the cartoonish CGI used to create Venom himself is frankly, quite poor. You’re never under the illusion that the symbiote could be real, it just looks far too machine generated. With a budget of $100million, this is wholly unacceptable. It’s also noisy and pretty ugly to look at, constantly murky with a muddy colour palate that tries desperately to be edgy and cool – it fails.
Venom feels totally and unequivocally outdated and from a different age
The plot is typical origins story which is to be expected, but there’s very little to thrill or surprise and the first hour is poorly paced. It’s not until we see Venom in his full form that things get out of the gate and Venom finds its footing.
Part buddy-comedy, part superhero flick and part body horror, Venom struggles to maintain a consistent identity. Much like the titular antihero, the film feels like a parasite, latching onto different genres until it finally finds one that fits its needs.
This is a real shame as there are moments of brilliance here. The dialogue between Venom and Brock is great and while the story isn’t anything out of the ordinary, an origins plot for an antihero rather than a traditional superhero is an inspired choice. The lack of Tom Holland’s Peter Parker really doesn’t matter too much, though I can’t help but be disappointed that these two may never meet on film.
Finally, the bizarre decision to aim for a PG-13 rating in the US has inexplicably landed it with a 15 certification here in the UK. 15 rating superhero films include Deadpool and its sequel, Logan and Watchmen. If you’re hoping for gore to the standard of those, you’ll be very dissatisfied. Despite all his head-chomping glory, Venom doesn’t even have a hint of the red stuff.
In the end, despite its best efforts, Venom just comes out very ‘meh’. In a world populated by standout superhero movies like Captain America: Civil War, Spider-Man: Homecoming and Thor: Ragnarok, Venom feels totally and unequivocally outdated and from a different age. Thankfully, it’s not Catwoman levels of bad, maybe X-Men: The Last Stand levels of average.
https://moviemetropolis.net/2018/10/04/venom-review-do-you-like-time-travel/
Nevertheless, in Venom’s case, what we have is a film that struggles to create a consistent tone throughout its rather succinct running time. But is the film still a success for Sony?
Journalist Eddie Brock (Tom Hardy) is trying to take down Carlton Drake (Riz Ahmed), the notorious and brilliant founder of the Life Foundation. While investigating one of Drake’s experiments, Eddie’s body merges with the alien Venom – leaving him with superhuman strength and power. Twisted, dark and fuelled by rage, Venom tries to control the new and dangerous abilities that Eddie finds so intoxicating.
Director of the absolutely brilliant, Zombieland and its upcoming sequel, Ruben Fleischer seems like the perfect choice to helm a solo movie for Peter Parker’s arch nemesis, but the result is muddled – speckled with excellent moments that are lowered by frequently jarring editing techniques and a brawl for identity. Whether that’s down to studio interference or just a misunderstanding of the source material is up for debate.
Let’s start with the best bit: the cast. Venom’s cast is of such a high quality, it really needs reeling off to be believed. We’ve got Tom Hardy, Michelle Williams and Riz Ahmed all in lead parts. Hardy is his ever-charming self in a role that is vastly different from his portrayal of Bane in The Dark Knight Rises. His ‘bromance’ with Venom is by far the standout of the entire film with witty dialogue and amusing physical comedy. In particular, one scene set in an lobster restaurant had the audience in stitches.
Unfortunately, Michelle Williams, one of our most talented actresses is wasted in a thankless role as Brock’s girlfriend, Annie. She’s supposed to be a lawyer, but apart from a few lines of dialogue explaining that fact, she’s completely by-the-numbers WAG. Riz Ahmed suffers a similar fate. His Carlton Drake is so pantomime villain-esque, you half expect him to start twirling a moustache.
Then there’s the film itself. The special effects rarely rise above adequate and the cartoonish CGI used to create Venom himself is frankly, quite poor. You’re never under the illusion that the symbiote could be real, it just looks far too machine generated. With a budget of $100million, this is wholly unacceptable. It’s also noisy and pretty ugly to look at, constantly murky with a muddy colour palate that tries desperately to be edgy and cool – it fails.
Venom feels totally and unequivocally outdated and from a different age
The plot is typical origins story which is to be expected, but there’s very little to thrill or surprise and the first hour is poorly paced. It’s not until we see Venom in his full form that things get out of the gate and Venom finds its footing.
Part buddy-comedy, part superhero flick and part body horror, Venom struggles to maintain a consistent identity. Much like the titular antihero, the film feels like a parasite, latching onto different genres until it finally finds one that fits its needs.
This is a real shame as there are moments of brilliance here. The dialogue between Venom and Brock is great and while the story isn’t anything out of the ordinary, an origins plot for an antihero rather than a traditional superhero is an inspired choice. The lack of Tom Holland’s Peter Parker really doesn’t matter too much, though I can’t help but be disappointed that these two may never meet on film.
Finally, the bizarre decision to aim for a PG-13 rating in the US has inexplicably landed it with a 15 certification here in the UK. 15 rating superhero films include Deadpool and its sequel, Logan and Watchmen. If you’re hoping for gore to the standard of those, you’ll be very dissatisfied. Despite all his head-chomping glory, Venom doesn’t even have a hint of the red stuff.
In the end, despite its best efforts, Venom just comes out very ‘meh’. In a world populated by standout superhero movies like Captain America: Civil War, Spider-Man: Homecoming and Thor: Ragnarok, Venom feels totally and unequivocally outdated and from a different age. Thankfully, it’s not Catwoman levels of bad, maybe X-Men: The Last Stand levels of average.
https://moviemetropolis.net/2018/10/04/venom-review-do-you-like-time-travel/
Bob Mann (459 KP) rated The Father (2020) in Movies
Jun 12, 2021
Dementia twists the strands of Anthony’s personal multiverse
Anthony (Anthony Hopkins) is elderly and living in his flat. His daughter Anne (Olivia Colman) keeps dropping by to check he is OK. But is this right? Strange things keep happening to him, from losing his watch to having strange people turn up at the flat. For Anthony is battling against dementia, and reality and fantasy are not quite as distinct as they once were.
Positives:
- I was one of those disappointed that Chadwick Boseman didn’t posthumously win the Best Actor Oscar for “Ma Rainey’s Black Bottom”. But, boy oh boy, after seeing this I am fully supportive of the Academy’s position. Anthony Hopkins has delivered some astonishingly powerful performances during his career – from the tortured ventriloquist in “Magic”, to Hannibal Lector to the elderly pope in “The Two Popes”. But he really excels himself here, tapping both your emotions and your sympathies as the confused and terrified old man.
- The Oscar- and BAFTA-winning screenplay by Florian Zeller, based on his stage play, is devastating, subtly twisting the knife. It will be particularly telling/upsetting for those who are getting on in years and/or have/had elderly parents affected by dementia. I would personally not have included (being deliberately vague) the “Williams entry” scene in the trailer, since it is a jolt of a twist in the film. But there are so many other clever devices in the screenplay that you don’t see coming. The ending in particular is brutal on the emotions.
- The production design (an Oscar nomination for Peter Francis and Cathy Featherstone) is ingenious, as the set subtly and progressively transforms. Almost a ‘spot the difference’ in movie form.
- The score by Ludovico Einaudi uses atonal strings to great effect, as Anthony’s reality keeps shifting from under him.
Negatives:
- I’ve nothing here, hence my 10-bomb rating. I’ve seen some reviews that have thought that the movie was too “stagey” (which is a criticism I have levelled before at a bunch of “stage to screen” adaptations such as “Fences” and – more recently – “One Night in Miami” and “Ma Rainey’s Black Bottom“). But I really didn’t feel that way about “The Father”. The claustrophobic nature of the plot was well served I thought by the (largely) single set location.
Summary Thoughts on “The Father”: Dementia is a cruel and heartless disease that robs any affected elderly person of their memories, logic and – ultimately – their dignity. I thought the movie was extremely clever in reflecting this decline, anchored by the astonishing career-best performance from Sir Anthony Hopkins. But this in turns makes this a very hard watch indeed!
(For the full graphical review, check out the One Mann's Movies post here - https://bob-the-movie-man.com/2021/06/12/the-father-dementia-twists-the-strands-of-anthonys-personal-multiverse/ . Thanks.
Positives:
- I was one of those disappointed that Chadwick Boseman didn’t posthumously win the Best Actor Oscar for “Ma Rainey’s Black Bottom”. But, boy oh boy, after seeing this I am fully supportive of the Academy’s position. Anthony Hopkins has delivered some astonishingly powerful performances during his career – from the tortured ventriloquist in “Magic”, to Hannibal Lector to the elderly pope in “The Two Popes”. But he really excels himself here, tapping both your emotions and your sympathies as the confused and terrified old man.
- The Oscar- and BAFTA-winning screenplay by Florian Zeller, based on his stage play, is devastating, subtly twisting the knife. It will be particularly telling/upsetting for those who are getting on in years and/or have/had elderly parents affected by dementia. I would personally not have included (being deliberately vague) the “Williams entry” scene in the trailer, since it is a jolt of a twist in the film. But there are so many other clever devices in the screenplay that you don’t see coming. The ending in particular is brutal on the emotions.
- The production design (an Oscar nomination for Peter Francis and Cathy Featherstone) is ingenious, as the set subtly and progressively transforms. Almost a ‘spot the difference’ in movie form.
- The score by Ludovico Einaudi uses atonal strings to great effect, as Anthony’s reality keeps shifting from under him.
Negatives:
- I’ve nothing here, hence my 10-bomb rating. I’ve seen some reviews that have thought that the movie was too “stagey” (which is a criticism I have levelled before at a bunch of “stage to screen” adaptations such as “Fences” and – more recently – “One Night in Miami” and “Ma Rainey’s Black Bottom“). But I really didn’t feel that way about “The Father”. The claustrophobic nature of the plot was well served I thought by the (largely) single set location.
Summary Thoughts on “The Father”: Dementia is a cruel and heartless disease that robs any affected elderly person of their memories, logic and – ultimately – their dignity. I thought the movie was extremely clever in reflecting this decline, anchored by the astonishing career-best performance from Sir Anthony Hopkins. But this in turns makes this a very hard watch indeed!
(For the full graphical review, check out the One Mann's Movies post here - https://bob-the-movie-man.com/2021/06/12/the-father-dementia-twists-the-strands-of-anthonys-personal-multiverse/ . Thanks.
Movie Metropolis (309 KP) rated The Legend of Tarzan (2016) in Movies
Jun 11, 2019
CPR Needed
As tends to be the case with Hollywood, studios pay very close attention to their rivals release schedules, eyeing up potential competition to pit their films against, maxing box-office returns in the process.
And when Disney announced they were rebooting The Jungle Book in March this year, Warner Bros quickly responded with another jungle-themed film; The Legend of Tarzan. But does this interpretation on the classic character swing or fall?
It’s been nearly a decade since Tarzan (Alexander Skarsgård), aka John Clayton III, left Africa to live in Victorian England with his wife Jane (Margot Robbie). Danger lurks on the horizon as Leon Rom (Christoph Waltz), a treacherous envoy for King Leopold, devises a scheme that lures the couple and friend George Williams (Samuel L Jackson) to the Congo. Rom plans to capture Tarzan and deliver him to an old enemy in exchange for diamonds. When Jane becomes a pawn in his devious plot, Tarzan must return to the jungle to save the woman he loves.
Directed by David Yates (Harry Potter & the Deathly Hallows), Legend of Tarzan features committed performances from its lead cast, immersive scenery and impressive special effects, but all of the glitz can’t save a film that plods along at a dreadful pace. Not since Peter Jackson’s King Kong has there been a movie that wastes so much of its opening act.
Alexander Skarsgård is likeable and commanding as the titular character, but lacks enough acting prowess to tackle the deeper, more emotional side that writers Adam Cozad and Craig Brewer have brought to the table here. Therefore, the scenes featuring a solo Tarzan suffer somewhat and Samuel L Jackson feels wasted in a poorly written and half-hearted role.
It is in Margot Robbie and Christoph Waltz that we find the film’s saving graces. Their characters leap off the screen with Waltz in particular being a highlight throughout. It’s unfortunate that one of our greatest living actors is lambasted with poor dialogue however, though the script just about keeps him afloat.
David Yates brings a similar filming style here to that of his foray into Harry Potter. The action is confidently filmed, but he avoids the use of shaky-cam that many directors seem to find appealing nowadays. The CGI is on the whole very good, especially in the finale which is breath-taking to watch.
It’s just a shame the rest of the film is such a drag. The first hour is incredibly poorly paced with very brief, albeit well-filmed, action sequences not doing enough to brighten Legend of Tarzan up. Elsewhere, the use of flashbacks is at first a decent way of giving the audience some exposition, but after the tenth one, they’re a nuisance.
Overall, The Legend of Tarzan does a lot more with its iconic character than other films have done, but that doesn’t excuse its poor pacing. Thankfully, the exciting finale lifts the final act above the standard of the first hour, and commanding performances from all the cast sustain interest just about enough to see it through to the end.
https://moviemetropolis.net/2016/07/07/cpr-needed-the-legend-of-tarzan-review/
And when Disney announced they were rebooting The Jungle Book in March this year, Warner Bros quickly responded with another jungle-themed film; The Legend of Tarzan. But does this interpretation on the classic character swing or fall?
It’s been nearly a decade since Tarzan (Alexander Skarsgård), aka John Clayton III, left Africa to live in Victorian England with his wife Jane (Margot Robbie). Danger lurks on the horizon as Leon Rom (Christoph Waltz), a treacherous envoy for King Leopold, devises a scheme that lures the couple and friend George Williams (Samuel L Jackson) to the Congo. Rom plans to capture Tarzan and deliver him to an old enemy in exchange for diamonds. When Jane becomes a pawn in his devious plot, Tarzan must return to the jungle to save the woman he loves.
Directed by David Yates (Harry Potter & the Deathly Hallows), Legend of Tarzan features committed performances from its lead cast, immersive scenery and impressive special effects, but all of the glitz can’t save a film that plods along at a dreadful pace. Not since Peter Jackson’s King Kong has there been a movie that wastes so much of its opening act.
Alexander Skarsgård is likeable and commanding as the titular character, but lacks enough acting prowess to tackle the deeper, more emotional side that writers Adam Cozad and Craig Brewer have brought to the table here. Therefore, the scenes featuring a solo Tarzan suffer somewhat and Samuel L Jackson feels wasted in a poorly written and half-hearted role.
It is in Margot Robbie and Christoph Waltz that we find the film’s saving graces. Their characters leap off the screen with Waltz in particular being a highlight throughout. It’s unfortunate that one of our greatest living actors is lambasted with poor dialogue however, though the script just about keeps him afloat.
David Yates brings a similar filming style here to that of his foray into Harry Potter. The action is confidently filmed, but he avoids the use of shaky-cam that many directors seem to find appealing nowadays. The CGI is on the whole very good, especially in the finale which is breath-taking to watch.
It’s just a shame the rest of the film is such a drag. The first hour is incredibly poorly paced with very brief, albeit well-filmed, action sequences not doing enough to brighten Legend of Tarzan up. Elsewhere, the use of flashbacks is at first a decent way of giving the audience some exposition, but after the tenth one, they’re a nuisance.
Overall, The Legend of Tarzan does a lot more with its iconic character than other films have done, but that doesn’t excuse its poor pacing. Thankfully, the exciting finale lifts the final act above the standard of the first hour, and commanding performances from all the cast sustain interest just about enough to see it through to the end.
https://moviemetropolis.net/2016/07/07/cpr-needed-the-legend-of-tarzan-review/
Gareth von Kallenbach (971 KP) rated Deepwater Horizon (2016) in Movies
Jul 15, 2019
On April 20th 2010, approximately 40 miles off of the Louisiana coast, the Deepwater Horizon drilling rig exploded and sank spilling over 3 million barrels of oil into the Gulf of Mexico. The Deepwater Horizon oil spill, also known as the Gulf oil spill and BP oil spill, is the worst oil spill in U.S. history, and cost 11 crew members their lives. It’s also one of the largest environmental disasters in history, who’s total cost to the marine life, fishing community, and entire Gulf coast is still unknown. The film Deepwater Horizon is based on the true story of the men and women who were working on the rig the day of the disaster.
As a new team arrives for a 21-day shift they can already tell something is not exactly right, when the contracted testing crew is leaving without conducting critical tests. The man in charge of the vessel, Jimmy Harrell (Kurt Russell), sets out to find out why the contractors have been dismissed and who let them go. Chief electronics technician Mike Williams (Mark Wahlberg) also goes to question the crew as to what has happened while he was off ship and how long the list is of things he needs to fix. Through a quick investigation by Mike and Jimmy find that BP officials, headed by Vidrine (John Malkovich), are the ones who made the decision. The BP officials chose to assume that everything was fine, and since the Deepwater Horizon was 43 days past their deadline and the rising costs were mounting. Their decision was that it was time to cap the well and move to the next site. That didn’t sit well with Mr. Jimmy, as most of the crew call him, so he demands that one more test is to be run before anything else happens.
The BP officials remind him of the cost and loss of money but eventually agree to the test. The initial test fails but before additional test can be run Jimmy is called away to another part of the vessel. With the addition test being inconclusive, and Mike and Jimmy not around, Vidrine pressures the crew to push forward and move on. Reluctantly the crew and Jimmy agree to move forward. A frustrated Jimmy retires to his crew quarters to get ready for a long night. Mike heads to his shop to video chat with his wife and start the monumental task of fixing all that is wrong aboard the Deepwater Horizon. At about 10 PM the entire vessel was rocked by an explosion. With that the crew rushes frantically to try and stop an even greater disaster and make their way safely off the Deepwater Horizon.
Director Peter Berg (Lone Survivor, Hancock, The Kingdom) does a great job of holding a steady pace throughout this film. The story moves well and once the action begins the intensity and suspense left me on the edge of my seat. The casting is great with Dylan O’Brien, Kate Hudson, Gina Rodriguez and others joining the previously mentioned Wahlberg, Russell and Malkovich. In focusing on the men and women who were on the Deepwater Horizon and their families it makes it a very creative an emotional tribute to the 11 men who perished that night. It does paint the large oil company (BP) as a villain, driven by profit to a point of recklessness, in a way that may be a little too political for some. I found it an informative story, showing a different side to a very well-known disaster.
As a new team arrives for a 21-day shift they can already tell something is not exactly right, when the contracted testing crew is leaving without conducting critical tests. The man in charge of the vessel, Jimmy Harrell (Kurt Russell), sets out to find out why the contractors have been dismissed and who let them go. Chief electronics technician Mike Williams (Mark Wahlberg) also goes to question the crew as to what has happened while he was off ship and how long the list is of things he needs to fix. Through a quick investigation by Mike and Jimmy find that BP officials, headed by Vidrine (John Malkovich), are the ones who made the decision. The BP officials chose to assume that everything was fine, and since the Deepwater Horizon was 43 days past their deadline and the rising costs were mounting. Their decision was that it was time to cap the well and move to the next site. That didn’t sit well with Mr. Jimmy, as most of the crew call him, so he demands that one more test is to be run before anything else happens.
The BP officials remind him of the cost and loss of money but eventually agree to the test. The initial test fails but before additional test can be run Jimmy is called away to another part of the vessel. With the addition test being inconclusive, and Mike and Jimmy not around, Vidrine pressures the crew to push forward and move on. Reluctantly the crew and Jimmy agree to move forward. A frustrated Jimmy retires to his crew quarters to get ready for a long night. Mike heads to his shop to video chat with his wife and start the monumental task of fixing all that is wrong aboard the Deepwater Horizon. At about 10 PM the entire vessel was rocked by an explosion. With that the crew rushes frantically to try and stop an even greater disaster and make their way safely off the Deepwater Horizon.
Director Peter Berg (Lone Survivor, Hancock, The Kingdom) does a great job of holding a steady pace throughout this film. The story moves well and once the action begins the intensity and suspense left me on the edge of my seat. The casting is great with Dylan O’Brien, Kate Hudson, Gina Rodriguez and others joining the previously mentioned Wahlberg, Russell and Malkovich. In focusing on the men and women who were on the Deepwater Horizon and their families it makes it a very creative an emotional tribute to the 11 men who perished that night. It does paint the large oil company (BP) as a villain, driven by profit to a point of recklessness, in a way that may be a little too political for some. I found it an informative story, showing a different side to a very well-known disaster.
Gareth von Kallenbach (971 KP) rated Star Wars: Episode VII - The Force Awakens (2015) in Movies
Aug 6, 2019
If it’s not one of the most anticipated movies of all time, it is certainly way up there. Star Wars: The Force Awakens is the thing that every Star Wars fanboy, including myself, fears. Will it be as good as the original trilogy, or will Disney and Bad Robot drop a deuce like many believe Lucas did with the prequel trilogy. Well, here is a spoiler free look from someone who has these fears.
Fret not, everyone. Abrams has done a magnificent job of continuing the Skywalker saga in Episode VII. And great news, there are no lens flares, at least none that I noticed. As I mentioned, this is spoiler free, but I will give you an idea of the overall plot.
Episode VII picks up 30 years after the end of Episode VI. The Emperor is dead, and Luke Skywalker (Mark Hamill) began training a new generation of Jedi. But something went wrong and one of his students turned against him and destroyed the school. Blaming himself, Skywalker went into isolation. With Luke out of the picture, risen from the ashes of the Empire, the First Order, led by Supreme Leader Snoke (Andy Serkis), is trying to reclaim the power of the Empire. Knowing that Skywalker is their only threat, they are attempting to find him to eliminate him before he can join the Resistance’s fight against them. Daring Resistance pilot Poe Dameron (Oscar Isaac) is attempting to find a map to Luke’s location, but is quickly interrupted by the First Order. He hides the map on his droid, BB-8, before being captured by the menacing force. And so sets off a chain of events to find Luke Skywalker by the Resistance and the First Order alike.
It’s no secret that many of the main cast is returning, including Han Solo (Harrison Ford), Leia (Carrie Fisher), Chewbacca (Peter Mayhew), See-Threepio (Anthony Daniels), and R2-D2 (Kenny Baker). We also have a slew of new characters such as the aforementioned Poe Dameron, Finn (John Boyega), Rey (Daisy Ridley), Kylo Ren (Adam Driver), Captain Phasma (Gwendoline Christie), General Hux (Domnall Gleeson), and Supreme Leader Snoke. The cast, both returning and new, blended really well together and had a great amount of charisma on the screen. There was the right amount of comedy, drama, and action in this movie, and the interaction between the characters just felt genuine. This movie definitely felt more like the original trilogy than the prequels did.
The soundtrack and effects were amazing. Right in line with what you would expect from a Star Wars movie, but as I mentioned to the studio rep as I was leaving the theater, the film didn’t try to go overboard with everything. So there was no feeling of over production as some felt from the prequels. And with John Williams doing the score again, you know it will have the same sound. He did a great job of blending in little melodies, or snipits of songs, that made reference to the previous movies at just the right moments.
All-in-all, it was a fantastic film that did not leave me disappointed. It shouldn’t leave you disappointed either. Now, it’s not without a few plot holes, and suspension of belief will help, but they are, for me any way, forgivable and I will leave it for you to discover them. At the end of the day, this is definitely the Star Wars film you are looking for. Go see it. See it multiple times. Give Disney and Bad Robot more reason to continue not only with the Skywalker saga, but also the other stories like next year’s Rogue One, young Han Solo and Chewie, or, one can only hope, the story of everyone’s favorite bounty hunter/orphan, Boba Fett.
Fret not, everyone. Abrams has done a magnificent job of continuing the Skywalker saga in Episode VII. And great news, there are no lens flares, at least none that I noticed. As I mentioned, this is spoiler free, but I will give you an idea of the overall plot.
Episode VII picks up 30 years after the end of Episode VI. The Emperor is dead, and Luke Skywalker (Mark Hamill) began training a new generation of Jedi. But something went wrong and one of his students turned against him and destroyed the school. Blaming himself, Skywalker went into isolation. With Luke out of the picture, risen from the ashes of the Empire, the First Order, led by Supreme Leader Snoke (Andy Serkis), is trying to reclaim the power of the Empire. Knowing that Skywalker is their only threat, they are attempting to find him to eliminate him before he can join the Resistance’s fight against them. Daring Resistance pilot Poe Dameron (Oscar Isaac) is attempting to find a map to Luke’s location, but is quickly interrupted by the First Order. He hides the map on his droid, BB-8, before being captured by the menacing force. And so sets off a chain of events to find Luke Skywalker by the Resistance and the First Order alike.
It’s no secret that many of the main cast is returning, including Han Solo (Harrison Ford), Leia (Carrie Fisher), Chewbacca (Peter Mayhew), See-Threepio (Anthony Daniels), and R2-D2 (Kenny Baker). We also have a slew of new characters such as the aforementioned Poe Dameron, Finn (John Boyega), Rey (Daisy Ridley), Kylo Ren (Adam Driver), Captain Phasma (Gwendoline Christie), General Hux (Domnall Gleeson), and Supreme Leader Snoke. The cast, both returning and new, blended really well together and had a great amount of charisma on the screen. There was the right amount of comedy, drama, and action in this movie, and the interaction between the characters just felt genuine. This movie definitely felt more like the original trilogy than the prequels did.
The soundtrack and effects were amazing. Right in line with what you would expect from a Star Wars movie, but as I mentioned to the studio rep as I was leaving the theater, the film didn’t try to go overboard with everything. So there was no feeling of over production as some felt from the prequels. And with John Williams doing the score again, you know it will have the same sound. He did a great job of blending in little melodies, or snipits of songs, that made reference to the previous movies at just the right moments.
All-in-all, it was a fantastic film that did not leave me disappointed. It shouldn’t leave you disappointed either. Now, it’s not without a few plot holes, and suspension of belief will help, but they are, for me any way, forgivable and I will leave it for you to discover them. At the end of the day, this is definitely the Star Wars film you are looking for. Go see it. See it multiple times. Give Disney and Bad Robot more reason to continue not only with the Skywalker saga, but also the other stories like next year’s Rogue One, young Han Solo and Chewie, or, one can only hope, the story of everyone’s favorite bounty hunter/orphan, Boba Fett.
Bob Mann (459 KP) rated The Magnificent Seven (2016) in Movies
Sep 29, 2021
A Hornery Exit.
As a big fan of the original – a staple of many Bank Holiday afternoons in my youth – I was prepared to be sniffy about this remake and came to the film on my high-horse (I left that tied to the rail outside the cinema by the way). But I was surprised to have my expectations reset.
Possibly on the basis that Trump has been given the Mexican’s a good bashing lately, the villain of the piece in this film is updated from Mexican bandit Calvera to Sacremento based land-snatcher and all round bad-egg Bartholomew Bogue (an expressionless Peter Sarsgaard). After ripping through some of the inhabitants of Rose Creek in a brutal pre-title sequence, widowed sharp-shooter Emma Cullen (Haley Bennett, “The Equalizer”) heads into the West on a recruiting mission for hired guns. She first recruits the bounty hunter Chisholm (sing “Chisum, John Chisum…”… no, sorry different Western) played by Denzel Washington. Washington matches Yul Brynner’s famous black outfit, and unlike Brynner is obviously able to finish off the ensemble naturally!
They recruit another six (who’d have thought it?) including wise-guy gambler Faraday (Chris “Guardians of the Galaxy” Pratt); famed confederate sniper Goodnight Robicheaux (Ethan Hawke); his nifty knife throwing Asian sidekick (but good for the Far East box office) Billy Rocks (Bjung-hun Lee, from Terminator: Genisys); and religious bear-of-a-man Indian-hunter Jack Horne (Vincent D’Onofrio, “Jurassic World”). After trying to whip the incompetent townsfolk into shape, and setting some Home-Alone style surprises, the stage is set for a showdown as Bogue whips up an army to re-take “his” town.
I like classic Westerns, with John Ford’s Rio Bravo being a particular favourite. In my view the problem with many modern Westerns is that they try too hard to shock (Tarentino’s recent “Hateful 8” was a case in point: a promising start ruined by gratuitous over-the-top violence). “The Magnificent Seven” doesn’t make that mistake, and while the squib-master and blood-bag boy are heavily employed throughout, nothing is too excessive: in fact, my view – and I don’t often tend in this direction – is that the censors rather over-egged the UK 12A rating on this one and could have gone with a 12. Director Antoine Fuqua has produced a film that is highly respectful of its heritage: perhaps to the point where many scenes might be deemed to be clichéd. But I personally warmed to that.
Denzel Washington was born to be in a Western like this and the emerging Chris Pratt does his star potential no harm by turning in a stellar performance adding both levity – with some whip-sharp lines – and screen presence in the role made famous by Steve McQueen. (Although no one comes close to the screen presence of McQueen…. Look up “real man” in the dictionary and his picture is there!) Also effective is Ethan Hawke in the nearest thing to the Robert Vaughan character in this film.
Where the adapted script by Richard Wenk and Nik Pizzolatto falters somewhat is in the motivations of the characters, which come across as superficial and unconvincing. (Perhaps “selling” was a whole lot easier in the Old West?) It is even unclear at the end of the film whether the survivors (and I hate to be the bearer of bad news, but the seven don’t all make it!) actually take their payment, or even a “share of the gold” that the town is sitting on. It makes for an unsatisfactory closure. The degree of racial harmony present in the film is also difficult to buy into, and the script could have made something more of this.
The film soundtrack marks the swan-song of the late James Horner, so tragically killed in a plane crash last year at the age of just 61. As the natural successor to the great John Williams and the late Jerry Goldsmith, Horner’s loss was a terrible one. The film is dedicated to him. Although the soundtrack was completed by Simon Franglen, there are flourishes of classic Horner, most notably in the first Rose Creek showdown scene. There is also a treat to the ears over the closing credits which is very welcome.
Although the film draws natural comparison with its 5* classic predecessor, this is a good film in its own right – a genuinely pleasant surprise. Perhaps its done well enough that we might get to now see a remake of “The Return of the Seven”. I hope so… “the Western is dead… long live the Western”!
Possibly on the basis that Trump has been given the Mexican’s a good bashing lately, the villain of the piece in this film is updated from Mexican bandit Calvera to Sacremento based land-snatcher and all round bad-egg Bartholomew Bogue (an expressionless Peter Sarsgaard). After ripping through some of the inhabitants of Rose Creek in a brutal pre-title sequence, widowed sharp-shooter Emma Cullen (Haley Bennett, “The Equalizer”) heads into the West on a recruiting mission for hired guns. She first recruits the bounty hunter Chisholm (sing “Chisum, John Chisum…”… no, sorry different Western) played by Denzel Washington. Washington matches Yul Brynner’s famous black outfit, and unlike Brynner is obviously able to finish off the ensemble naturally!
They recruit another six (who’d have thought it?) including wise-guy gambler Faraday (Chris “Guardians of the Galaxy” Pratt); famed confederate sniper Goodnight Robicheaux (Ethan Hawke); his nifty knife throwing Asian sidekick (but good for the Far East box office) Billy Rocks (Bjung-hun Lee, from Terminator: Genisys); and religious bear-of-a-man Indian-hunter Jack Horne (Vincent D’Onofrio, “Jurassic World”). After trying to whip the incompetent townsfolk into shape, and setting some Home-Alone style surprises, the stage is set for a showdown as Bogue whips up an army to re-take “his” town.
I like classic Westerns, with John Ford’s Rio Bravo being a particular favourite. In my view the problem with many modern Westerns is that they try too hard to shock (Tarentino’s recent “Hateful 8” was a case in point: a promising start ruined by gratuitous over-the-top violence). “The Magnificent Seven” doesn’t make that mistake, and while the squib-master and blood-bag boy are heavily employed throughout, nothing is too excessive: in fact, my view – and I don’t often tend in this direction – is that the censors rather over-egged the UK 12A rating on this one and could have gone with a 12. Director Antoine Fuqua has produced a film that is highly respectful of its heritage: perhaps to the point where many scenes might be deemed to be clichéd. But I personally warmed to that.
Denzel Washington was born to be in a Western like this and the emerging Chris Pratt does his star potential no harm by turning in a stellar performance adding both levity – with some whip-sharp lines – and screen presence in the role made famous by Steve McQueen. (Although no one comes close to the screen presence of McQueen…. Look up “real man” in the dictionary and his picture is there!) Also effective is Ethan Hawke in the nearest thing to the Robert Vaughan character in this film.
Where the adapted script by Richard Wenk and Nik Pizzolatto falters somewhat is in the motivations of the characters, which come across as superficial and unconvincing. (Perhaps “selling” was a whole lot easier in the Old West?) It is even unclear at the end of the film whether the survivors (and I hate to be the bearer of bad news, but the seven don’t all make it!) actually take their payment, or even a “share of the gold” that the town is sitting on. It makes for an unsatisfactory closure. The degree of racial harmony present in the film is also difficult to buy into, and the script could have made something more of this.
The film soundtrack marks the swan-song of the late James Horner, so tragically killed in a plane crash last year at the age of just 61. As the natural successor to the great John Williams and the late Jerry Goldsmith, Horner’s loss was a terrible one. The film is dedicated to him. Although the soundtrack was completed by Simon Franglen, there are flourishes of classic Horner, most notably in the first Rose Creek showdown scene. There is also a treat to the ears over the closing credits which is very welcome.
Although the film draws natural comparison with its 5* classic predecessor, this is a good film in its own right – a genuinely pleasant surprise. Perhaps its done well enough that we might get to now see a remake of “The Return of the Seven”. I hope so… “the Western is dead… long live the Western”!
Bob Mann (459 KP) rated Breaking In (2018) (2018) in Movies
Sep 29, 2021
Get In.
Into every life a little rain must fall. Some fairly pervasive advertising drove me into the cinema to see this one… often a sign that the distributors think it has legs. And from its quirky opening titles (with a COMPLETELY expected shock denouement!) I started to think it did have something. The beginning is in fact VERY similar to the introductory scene of “Get Out” in its randomness, and for one brief moment I wondered if the film was trying to parody that indie classic from last year… with only some studio lawyers getting in the way of them really calling it “Get In”. (“No, no, no… ‘Get’ is copyrighted… you’ll have to use some other word!”).
But no. It turns out that this is a pretty below-average B-movie after all,
The plot is pretty derivative of the “family in dire peril” variety made famous by the “Taken” series. Not being able to persuade Liam Neeson to wear a dress in this “Times Up” era, the Neeson-actioner writer Ryan Engle (“The Commuter“, “Non-Stop“) switches the action to focus on stressed mother Shaun Russell (Gabrielle Union).
Shaun has come to deepest Wisconsin with her two kids, Jasmine (Ajiona Alexus) and Glover (Seth Carr) to arrange the sale of her deceased father’s luxury home: a house absolutely brimming to the elegant rafters with security features. But unknown to them, there are already intruders in the house searching for something of value, and with Shaun locked outside the secure fortress home she will stop at nothing to break in and bring her children safely home.
The sad thing about this one is that the fairly unknown cast actually do a pretty good job. The chief villain Eddie, played by Billy Burke, channels an effectively ‘evil-quiet-Gary-Oldman” turn to good effect. His accomplices, the more sensitive Sam (Levi Meaden), luckless Peter (Mark Furze) and (particularly) the psychopathic Duncan (Richard Cabral) (can a psychopath really be called Duncan?) are broad caricatures, but never too broad to be totally awful.
Gabrielle Union kicks-ass effectively with her particular set of skills (see below), but particularly good is 22-year old Ajiona Alexus who has a great screen presence and deserves to be in much better films than this.
Where the film stumbles and goes crashing through its carbonite shutters is in the story and the screenplay’s dialogue.
The former is just bat-shit crazy, with so many ridiculous plot-holes and “yeah-but” moments that you lose count. For example, at one point the daughter is looking for her mobile phone WHICH IS IN THE ROOM and which would wrap the plot up in 10 minutes flat…. but then something else happens and they stop looking for it, never to be thought of again!
And what of those ‘particular set of skills’ that Shaun has? Oh, I forgot to say… she has none!! Or at least you assume not, since Shaun seems to have no back-story whatsoever, other than the fact that her daddy is very very rich and being investigated by the D/A. For what? Embezzlement? Tax evasion? Smartie-smuggling? Gun running? Perhaps he was a mafia overlord and Shaun was brought up with martial arts, gun and knife training to spy-school level? Perhaps none of the above, and she was just an obsessive watcher of Engle-scripted flicks? We will never know.
In addition, Shaun gets the proverbial crap kicked out of her on so many occasions, but there is no trip to casualty required. (Yes, I know Neeson and most other action heroes have the same implausible in-vulnerabilities, but it just seems so much less realistic when she is a not-particularly sporty or athletic woman).
And that dialogue… it’s just plain laughable in places. If Eddie doesn’t do his “Mamma hen will come back to save her chicks” speech once, he does it five times….
“Hey, James”… (James McTeigue, director, “V for Vendetta”)… says Burke, “Haven’t I said this line four times already”. “Sure”, says McTeigue, “I’m not sure where exactly I want to put it in the final cut yet, but only one of them will stay in. Don’t worry… I won’t make you look stupid to the cinema-going audience!!”
Every last thriller cliché is mined as the story grinds to an unmemorable and very flat conclusion.
Before wrapping up, I’d point out Another crime being committed in the music department. Australian composer Johnny Klimek’s action thriller score is actually quiet good, full of nice electronic riffs. But he really doesn’t know when to shut up. I remember an interview by John Williams on scoring the score to Hitchcock’s “Family Plot” where he recounted that Hitchcock taught him the value of a sudden absence of music at key moments. This film is too recent to learn the many lessons of “A Quiet Place“: but there are so many moments in this film where silence should have been golden. At one point the (what should be) heart-stopping sound effect of a creaking beam can barely be heard over Klimek’s pounding electronics.
So in summary, although it’s the award of ‘good acting attempt’ badges to sew onto the cast’s scout uniforms, my message to you dear reader re this one is “Get Out” of the cinema and enjoy the nice summer evenings instead!
But no. It turns out that this is a pretty below-average B-movie after all,
The plot is pretty derivative of the “family in dire peril” variety made famous by the “Taken” series. Not being able to persuade Liam Neeson to wear a dress in this “Times Up” era, the Neeson-actioner writer Ryan Engle (“The Commuter“, “Non-Stop“) switches the action to focus on stressed mother Shaun Russell (Gabrielle Union).
Shaun has come to deepest Wisconsin with her two kids, Jasmine (Ajiona Alexus) and Glover (Seth Carr) to arrange the sale of her deceased father’s luxury home: a house absolutely brimming to the elegant rafters with security features. But unknown to them, there are already intruders in the house searching for something of value, and with Shaun locked outside the secure fortress home she will stop at nothing to break in and bring her children safely home.
The sad thing about this one is that the fairly unknown cast actually do a pretty good job. The chief villain Eddie, played by Billy Burke, channels an effectively ‘evil-quiet-Gary-Oldman” turn to good effect. His accomplices, the more sensitive Sam (Levi Meaden), luckless Peter (Mark Furze) and (particularly) the psychopathic Duncan (Richard Cabral) (can a psychopath really be called Duncan?) are broad caricatures, but never too broad to be totally awful.
Gabrielle Union kicks-ass effectively with her particular set of skills (see below), but particularly good is 22-year old Ajiona Alexus who has a great screen presence and deserves to be in much better films than this.
Where the film stumbles and goes crashing through its carbonite shutters is in the story and the screenplay’s dialogue.
The former is just bat-shit crazy, with so many ridiculous plot-holes and “yeah-but” moments that you lose count. For example, at one point the daughter is looking for her mobile phone WHICH IS IN THE ROOM and which would wrap the plot up in 10 minutes flat…. but then something else happens and they stop looking for it, never to be thought of again!
And what of those ‘particular set of skills’ that Shaun has? Oh, I forgot to say… she has none!! Or at least you assume not, since Shaun seems to have no back-story whatsoever, other than the fact that her daddy is very very rich and being investigated by the D/A. For what? Embezzlement? Tax evasion? Smartie-smuggling? Gun running? Perhaps he was a mafia overlord and Shaun was brought up with martial arts, gun and knife training to spy-school level? Perhaps none of the above, and she was just an obsessive watcher of Engle-scripted flicks? We will never know.
In addition, Shaun gets the proverbial crap kicked out of her on so many occasions, but there is no trip to casualty required. (Yes, I know Neeson and most other action heroes have the same implausible in-vulnerabilities, but it just seems so much less realistic when she is a not-particularly sporty or athletic woman).
And that dialogue… it’s just plain laughable in places. If Eddie doesn’t do his “Mamma hen will come back to save her chicks” speech once, he does it five times….
“Hey, James”… (James McTeigue, director, “V for Vendetta”)… says Burke, “Haven’t I said this line four times already”. “Sure”, says McTeigue, “I’m not sure where exactly I want to put it in the final cut yet, but only one of them will stay in. Don’t worry… I won’t make you look stupid to the cinema-going audience!!”
Every last thriller cliché is mined as the story grinds to an unmemorable and very flat conclusion.
Before wrapping up, I’d point out Another crime being committed in the music department. Australian composer Johnny Klimek’s action thriller score is actually quiet good, full of nice electronic riffs. But he really doesn’t know when to shut up. I remember an interview by John Williams on scoring the score to Hitchcock’s “Family Plot” where he recounted that Hitchcock taught him the value of a sudden absence of music at key moments. This film is too recent to learn the many lessons of “A Quiet Place“: but there are so many moments in this film where silence should have been golden. At one point the (what should be) heart-stopping sound effect of a creaking beam can barely be heard over Klimek’s pounding electronics.
So in summary, although it’s the award of ‘good acting attempt’ badges to sew onto the cast’s scout uniforms, my message to you dear reader re this one is “Get Out” of the cinema and enjoy the nice summer evenings instead!
Kirk Bage (1775 KP) rated Game Of Thrones in TV
Aug 6, 2020
Look on the bright side, we all said, without really believing it, when lockdown hit in March – time to watch those box sets we’ve been putting off. Well that was, of course, a great idea! For me that box set was possibly the biggest of all: the behemoth that is GOT.
Much like when a new band gets big quickly and you refuse to listen to the hype, I avoided watching the biggest show in the world, even when it was on in the same room as I tried to read a book in the other corner. It wasn’t that I thought I wouldn’t like it, but more that I didn’t believe it could be anywhere near as good as folk were making it out to be, especially as season one looked like only a slight step up on the swords and sandles exploitation-fests that had been going around. I labelled it “Tits and Dragons” and got on with my life for the next 8 years.
March 2020 will go down in history as the biggest spike in streaming TV services the globe will ever see. Literally millions of previously casual watchers, who had been busy having lives and jobs, turned to Netflix, Amazon Prime, Now TV and iPlayer etc, in search of endless hours of easy entertainment they could immerse their bored and twitchy minds inside of. Without internet at home, I had to go a bit more old school and rely on my daughter posting me the DVDs of GOT season by season.
I found season one enjoyable, with caveats, as it seemed to be one massive exposition (and sexposition) workshop. Obviously the main characters were being set up for big storylines down the road. In which sense it reminded me of a soap opera; in how it flitted between characters and relationships, never dwelling on one plot point for more than two minutes. I liked the way the production had set itself up though – the sets and costumes were of a much higher level than was usual for this kind of thing. Then there was those great opening credits, which become impossible not to hum along to as you get more into it.
Sadly, the first big shock moment didn’t shock me, as I’d heard so much about it on social media 9 years ago. But it was still very well done. Bold and brave; to take out a big name that early was a master stroke. By the end of S1E9 I was properly hooked. Although it helped I didn’t have anything else to do!
The next two weeks I had to wait for season two to be posted out, so I embarked on watching all the DVD commentaries too to kill some time in the evenings whilst I waited. This is almost certainly something I wouldn’t have done under normal circumstances and I believe it is what cemented my enjoyment of it as a whole. Listening to the cast and crew reminisce about what a great time they had, and how close they all were, really helped put it into context for me. I was already loving Peter Dinklage and Lena Headey, but their humour and irreverence in the commentaries made it feel like there were pals in the room watching it with me.
By season two and beyond, I was looking at maps, memorizing every minor character’s name, house and motto, and just immersing in it to the point of obsession. As, I guess, millions of people had already done over the years, but now I got what the fuss was all about. It is an addictive show; you have to know what happens next, you simply can’t leave it alone! Whether it is hissing and booing at Joffrey, or loving to hate Cersei, or siding with the bastards and broken things, there is always something engaging going on – and when a character you disliked dies horribly it is so satisfying!
It is a weird mix, however, of moments so horribly signposted, with some dubious acting, and moments of real surprise and emotion delivered with great acting. Many of the characters really grow into their skins as the actors get more familiar and comfortable being them. The writers too get better at putting the right words in their mouths, and learn to minimise the exposition moments. The young ones in particular really grow impressively as it goes on into seasons 3 and 4. Maisie Williams as the slightly sadistic loner Arya Stark especially. I loved how none stereotypical that character was, and have to say her relationship with The Hound was my favourite thing in the whole show.
At the climax of season four, which I believe was the peak of it artistically, the story arc of Dinklage as Tyrion Lannister, aka The Imp, becomes so compellingly good you can’t take your eyes off him. I had already come to the conclusion that his scenes were the best ones, but this went to 11 on the dial. And it gets better thinking back on it too. Which can’t truly be said of where they go with John Snow and Daenarys, who are ostensibly the main draw by this point, as all storylines seem to mirror their journeys on opposite sides of the world; a song of ice and fire, indeed.
Seasons 5 and 6 continued to be great, even though the dramatic peaks were hard to top. What did improve was the big set pieces, as episodes such as Hardhome and Battle of the Bastards upper the bar on huge battles, staged masterfully. There were things happening that I had never seen in a TV show before, both creatively and budget spent. Watching some of the making of documentaries was fascinating in this regard. The props department alone was astonishingly detailed, to Lord of the Rings degrees, properly impressive!
To go into story and scene details here is pointless, and I don’t want to include any more spoilers than I already have, just in case there is anyone else like me, that hasn’t done the whole journey yet. Obviously, there was some controversy in where seasons 7 and especially 8 went with some storylines and characters. I thought it was mostly fine, to be honest, I just went with it. But it did become a little stretched and hurried, as it raced towards its conclusion. It’s hard for me to get a proper impression of how tense and then annoying it would be to wait a long time for a new season and then have it not go where you imagined it would. Not a problem for me, as I blitzed the final 4 seasons in about a week.
As the episode ratings of season 8 on IMDb indicate, folk were not happy. There was an element of anti-climax, to be fair, but what else could it have been, now so many people claim it as their own? The end isn’t perfect, and that may have a lot to do with the fact they stopped following the books, because they hadn’t been written. In all honestly, I didn’t care. It was spectacular and diverting enough to keep my attention, and my investment in the characters not brutally killed off was not teenage enough to take it personally. I do have sympathy for fans that felt their loyalty betrayed, but come on… it’s just a TV show.
Watching the same fictional world for more than 70 actual hours can do things to you brain. In conclusion I would say I loved going there! The good things always outweighed the annoying things, and it is an experience I would recommend to anyone who hasn’t done it. Whatever age you are, it is a must see phenomenon, like The Sopranos – oh wait, I haven’t seen that yet either…
Much like when a new band gets big quickly and you refuse to listen to the hype, I avoided watching the biggest show in the world, even when it was on in the same room as I tried to read a book in the other corner. It wasn’t that I thought I wouldn’t like it, but more that I didn’t believe it could be anywhere near as good as folk were making it out to be, especially as season one looked like only a slight step up on the swords and sandles exploitation-fests that had been going around. I labelled it “Tits and Dragons” and got on with my life for the next 8 years.
March 2020 will go down in history as the biggest spike in streaming TV services the globe will ever see. Literally millions of previously casual watchers, who had been busy having lives and jobs, turned to Netflix, Amazon Prime, Now TV and iPlayer etc, in search of endless hours of easy entertainment they could immerse their bored and twitchy minds inside of. Without internet at home, I had to go a bit more old school and rely on my daughter posting me the DVDs of GOT season by season.
I found season one enjoyable, with caveats, as it seemed to be one massive exposition (and sexposition) workshop. Obviously the main characters were being set up for big storylines down the road. In which sense it reminded me of a soap opera; in how it flitted between characters and relationships, never dwelling on one plot point for more than two minutes. I liked the way the production had set itself up though – the sets and costumes were of a much higher level than was usual for this kind of thing. Then there was those great opening credits, which become impossible not to hum along to as you get more into it.
Sadly, the first big shock moment didn’t shock me, as I’d heard so much about it on social media 9 years ago. But it was still very well done. Bold and brave; to take out a big name that early was a master stroke. By the end of S1E9 I was properly hooked. Although it helped I didn’t have anything else to do!
The next two weeks I had to wait for season two to be posted out, so I embarked on watching all the DVD commentaries too to kill some time in the evenings whilst I waited. This is almost certainly something I wouldn’t have done under normal circumstances and I believe it is what cemented my enjoyment of it as a whole. Listening to the cast and crew reminisce about what a great time they had, and how close they all were, really helped put it into context for me. I was already loving Peter Dinklage and Lena Headey, but their humour and irreverence in the commentaries made it feel like there were pals in the room watching it with me.
By season two and beyond, I was looking at maps, memorizing every minor character’s name, house and motto, and just immersing in it to the point of obsession. As, I guess, millions of people had already done over the years, but now I got what the fuss was all about. It is an addictive show; you have to know what happens next, you simply can’t leave it alone! Whether it is hissing and booing at Joffrey, or loving to hate Cersei, or siding with the bastards and broken things, there is always something engaging going on – and when a character you disliked dies horribly it is so satisfying!
It is a weird mix, however, of moments so horribly signposted, with some dubious acting, and moments of real surprise and emotion delivered with great acting. Many of the characters really grow into their skins as the actors get more familiar and comfortable being them. The writers too get better at putting the right words in their mouths, and learn to minimise the exposition moments. The young ones in particular really grow impressively as it goes on into seasons 3 and 4. Maisie Williams as the slightly sadistic loner Arya Stark especially. I loved how none stereotypical that character was, and have to say her relationship with The Hound was my favourite thing in the whole show.
At the climax of season four, which I believe was the peak of it artistically, the story arc of Dinklage as Tyrion Lannister, aka The Imp, becomes so compellingly good you can’t take your eyes off him. I had already come to the conclusion that his scenes were the best ones, but this went to 11 on the dial. And it gets better thinking back on it too. Which can’t truly be said of where they go with John Snow and Daenarys, who are ostensibly the main draw by this point, as all storylines seem to mirror their journeys on opposite sides of the world; a song of ice and fire, indeed.
Seasons 5 and 6 continued to be great, even though the dramatic peaks were hard to top. What did improve was the big set pieces, as episodes such as Hardhome and Battle of the Bastards upper the bar on huge battles, staged masterfully. There were things happening that I had never seen in a TV show before, both creatively and budget spent. Watching some of the making of documentaries was fascinating in this regard. The props department alone was astonishingly detailed, to Lord of the Rings degrees, properly impressive!
To go into story and scene details here is pointless, and I don’t want to include any more spoilers than I already have, just in case there is anyone else like me, that hasn’t done the whole journey yet. Obviously, there was some controversy in where seasons 7 and especially 8 went with some storylines and characters. I thought it was mostly fine, to be honest, I just went with it. But it did become a little stretched and hurried, as it raced towards its conclusion. It’s hard for me to get a proper impression of how tense and then annoying it would be to wait a long time for a new season and then have it not go where you imagined it would. Not a problem for me, as I blitzed the final 4 seasons in about a week.
As the episode ratings of season 8 on IMDb indicate, folk were not happy. There was an element of anti-climax, to be fair, but what else could it have been, now so many people claim it as their own? The end isn’t perfect, and that may have a lot to do with the fact they stopped following the books, because they hadn’t been written. In all honestly, I didn’t care. It was spectacular and diverting enough to keep my attention, and my investment in the characters not brutally killed off was not teenage enough to take it personally. I do have sympathy for fans that felt their loyalty betrayed, but come on… it’s just a TV show.
Watching the same fictional world for more than 70 actual hours can do things to you brain. In conclusion I would say I loved going there! The good things always outweighed the annoying things, and it is an experience I would recommend to anyone who hasn’t done it. Whatever age you are, it is a must see phenomenon, like The Sopranos – oh wait, I haven’t seen that yet either…