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Bong Mines Entertainment (15 KP) rated Good Thing by Leon Bridges in Music
Jun 7, 2019
Leon Bridges is a talented R&B/soul singer outta Fort Worth, Texas. Not too long ago, he released his second studio album, entitled, “Good Thing”.
BET AIN’T WORTH THE HAND
The artist sings a beautiful ballad about leaving a rocky relationship. He doesn’t want to leave because he still sees hope in making it work.
The Natalie Rae-directed video begins with Bridges walking the street. He’s hurt. The following scenes show him relating to other people going through the same emotional pain he’s experiencing.
The artist knows that’s a risky move staying in a broken relationship. Also, he looks at the cards he’s dealt with and realizes his best is to move on.
BAD BAD NEWS
The artist switches speed and takes listeners on a funky ride. It’s disco time and he celebrates on the dancefloor. Also, being there isn’t easy. So, he has to fight his way through the crowd to make it to the front.
The Natalie Rae-directed video begins with a voluptuous woman walking inside a train station. She hears someone whistling so she heads in that direction, following the whistler.
Somehow, Bridges’ music overtakes her soul and she begins to follow its funky rhythm. In the end, it leads her to the guy who was whistling in the beginning.
The artist sings a triumphant song. He questions people trying to hold him in the back. But that’s not where he belongs. So, he moves up front and kills them with style and grace.
SHY
The artist addresses a shy woman that he’s in love with. Also, he assures her that it doesn’t matter if she’s shy. He doesn’t care about her shyness because he’s into her.
BEYOND
Bridges is deep in love with the shy woman. Everything is moving fast. Also, he wants to slow things down but he can’t. Because of that, he’s scared to death that she might be the one.
FORGIVE YOU
The artist sings the blues. He admits he played the fool in the relationship where his girl took advantage of his kindness. But he forgives her even though it’s hard to. Also, his friends warned him not to be so gullible.
LIONS
The aftermath of experiencing bad love has Bridges feeling like a thirsty lion. But through his trials and tribulations, he remains true to himself. Also, he refuses to conform to who the woman wants him to be.
IF IT FEELS GOOD (THEN IT MUST BE)
The artist removes the bad love aura and freshens the air with truth and honesty. Also, he perfumes the dancefloor with a splash of funkiness and rhythm and blues.
He wants the mysterious lady bad. So, he tells her to let her guards down and enjoy herself. He doesn’t want her to act so seriously.
YOU DON’T KNOW
The artist continues dancing in the name of love. He’s head over heels for the woman in his life and he wants the world to know that. Also, he wants her to stop thinking because their loving might not go down if she continues to do so.
MRS.
The artist addresses his love and hate relationship with his girl. When they’re good they’re good, but when they’re bad they’re really bad. Also, whenever she shows him affection, he remembers that she still loves him.
GEORGIA TO TEXAS
The artist sings about his mother carrying him in her womb, while his father drove them from Atlanta to Texas. But years later, he admits that adapting to his surrounding wasn’t easy.
Apparently, the 504 black girl is Bridges’ mother, Lisa Sawyer. The number 504 is the area code where she’s from in New Orleans, Lousiana.
CONCLUSION
Leon Bridges’ “Good Thing” is a classic album perfumed with soul ballads, spicy topics, and danceable tunes. Its soulful sound is the perfect soundtrack for those who have loved and lost, and those who are in love for the very first time. It’s romantic, celebratory, with lush experiences. Also, it takes listeners on an emotional journey through the hills and valleys where love dwells.
https://www.bongminesentertainment.com/leon-bridges-good-thing/
BET AIN’T WORTH THE HAND
The artist sings a beautiful ballad about leaving a rocky relationship. He doesn’t want to leave because he still sees hope in making it work.
The Natalie Rae-directed video begins with Bridges walking the street. He’s hurt. The following scenes show him relating to other people going through the same emotional pain he’s experiencing.
The artist knows that’s a risky move staying in a broken relationship. Also, he looks at the cards he’s dealt with and realizes his best is to move on.
BAD BAD NEWS
The artist switches speed and takes listeners on a funky ride. It’s disco time and he celebrates on the dancefloor. Also, being there isn’t easy. So, he has to fight his way through the crowd to make it to the front.
The Natalie Rae-directed video begins with a voluptuous woman walking inside a train station. She hears someone whistling so she heads in that direction, following the whistler.
Somehow, Bridges’ music overtakes her soul and she begins to follow its funky rhythm. In the end, it leads her to the guy who was whistling in the beginning.
The artist sings a triumphant song. He questions people trying to hold him in the back. But that’s not where he belongs. So, he moves up front and kills them with style and grace.
SHY
The artist addresses a shy woman that he’s in love with. Also, he assures her that it doesn’t matter if she’s shy. He doesn’t care about her shyness because he’s into her.
BEYOND
Bridges is deep in love with the shy woman. Everything is moving fast. Also, he wants to slow things down but he can’t. Because of that, he’s scared to death that she might be the one.
FORGIVE YOU
The artist sings the blues. He admits he played the fool in the relationship where his girl took advantage of his kindness. But he forgives her even though it’s hard to. Also, his friends warned him not to be so gullible.
LIONS
The aftermath of experiencing bad love has Bridges feeling like a thirsty lion. But through his trials and tribulations, he remains true to himself. Also, he refuses to conform to who the woman wants him to be.
IF IT FEELS GOOD (THEN IT MUST BE)
The artist removes the bad love aura and freshens the air with truth and honesty. Also, he perfumes the dancefloor with a splash of funkiness and rhythm and blues.
He wants the mysterious lady bad. So, he tells her to let her guards down and enjoy herself. He doesn’t want her to act so seriously.
YOU DON’T KNOW
The artist continues dancing in the name of love. He’s head over heels for the woman in his life and he wants the world to know that. Also, he wants her to stop thinking because their loving might not go down if she continues to do so.
MRS.
The artist addresses his love and hate relationship with his girl. When they’re good they’re good, but when they’re bad they’re really bad. Also, whenever she shows him affection, he remembers that she still loves him.
GEORGIA TO TEXAS
The artist sings about his mother carrying him in her womb, while his father drove them from Atlanta to Texas. But years later, he admits that adapting to his surrounding wasn’t easy.
Apparently, the 504 black girl is Bridges’ mother, Lisa Sawyer. The number 504 is the area code where she’s from in New Orleans, Lousiana.
CONCLUSION
Leon Bridges’ “Good Thing” is a classic album perfumed with soul ballads, spicy topics, and danceable tunes. Its soulful sound is the perfect soundtrack for those who have loved and lost, and those who are in love for the very first time. It’s romantic, celebratory, with lush experiences. Also, it takes listeners on an emotional journey through the hills and valleys where love dwells.
https://www.bongminesentertainment.com/leon-bridges-good-thing/
Gareth von Kallenbach (980 KP) rated Battle: Los Angeles (2011) in Movies
Aug 7, 2019
War movies depicting a group of soldiers against overwhelming odds are nothing new. For generations, moviegoers have been treated to cinematic recreations as well as new scenarios of fighting units in combat. Usually these films follow a typical formula that includes the tough and gritty commanding officer, the naïve new soldier, the one with a woman and children waiting at home, and one who has difficulties with combat. In the new movie Battle: Los Angeles a new twist is given to the formulaic troops-in-combat picture which produces a mixed bag of results.
Aaron Eckhart stars as Staff Sgt. Michael Nantz; a 20 year Marine who, after losing men on a recent mission, has decided that it is time for him to leave and has filed his retirement paperwork from the corps. While completing a training exercise, Nantz and a squadron of Marines at Camp Pendleton are activated for what they are told is an evacuation mission in order to clear Santa Monica and other area residents from a swarm of meteors which are scheduled to hit just off the coast.
Nantz is assigned to a new commanding officer who, like the men in his unit, is wary of Nantz as many believe that he got his men killed in his last assignment. Despite the misgivings of the new lieutenant, he agrees that Nantz offers a wealth of experience and should be just fine for a simple evacuation assignment.
However during the mission briefing, the Marines are informed that the meteors that are hitting off the coast of major cities around the world contain metallic centers and that this is very likely an invasion from an unknown force. While the Marines are deploying an otherworldly fighting unit emerges destroying everything in their path as they moved inland from the coast line. Unsure what they are dealing with, the military decides to carpet bomb the city in order to contain the alien threat and give Nantz and his unit three hours to enter the combat zone and evacuate civilians from a police station.
While the movie is for the most part the standard soldiers-at-war film which substitute’s aliens for the usual enemy forces, the strength of the cast and the solid action and special effects help the movie overcome many of its shortcomings. There is little character development in the film and scenarios that were introduced in some of the characters’ backstories early in the film were given little to no chance to develop once the shooting started.
I also had an issue with some of the tactics in the film. While it may seem nitpicking there were a few scenes where the soldiers didn’t follow logical courses of engagement until later in the film. I have had only the most basic of combat instruction from my brief time in the Air Force, yet I can think of at least four scenarios in the film where the unit failed to use the most logical options available in their combat situation. Of course any film dealing with an alien invasion is sure to have plot holes and yes I can quibble about the Air Force waiting three hours to bomb a heavily overrun area when containment would have been priority one in not allowing a hostile force that much time to entrench itself.
That being said it was an interesting and entertaining film. The enemy was sufficiently mysterious and dangerous enough to hold my interest and had me rooting desperately for the troops to rise up and strike back at the enemy. Michelle Rodriguez does fine supporting work in the role of an Air Force Tech Sgt. who may have the key to turning the tide of the battle. Eckhart is solid as the gruff but caring staff sergeant is equally strong and his unit of young corporals, including R&B singer Ne-Yo, are believable.
Director Jonathan Liebesman knows the core intention of this film is and in doing so provides enough action to keep the audience entertained throughout. despite some issues with pacing and plot. While it doesn’t have the epic feel of Independence Day, Battle: Los Angeles is a film that provides enough entertainment to make it one of the better alien invasion films ever made and one that I certainly would not mind seeing revisited in a future sequel.
3.5 stars out of 5
Aaron Eckhart stars as Staff Sgt. Michael Nantz; a 20 year Marine who, after losing men on a recent mission, has decided that it is time for him to leave and has filed his retirement paperwork from the corps. While completing a training exercise, Nantz and a squadron of Marines at Camp Pendleton are activated for what they are told is an evacuation mission in order to clear Santa Monica and other area residents from a swarm of meteors which are scheduled to hit just off the coast.
Nantz is assigned to a new commanding officer who, like the men in his unit, is wary of Nantz as many believe that he got his men killed in his last assignment. Despite the misgivings of the new lieutenant, he agrees that Nantz offers a wealth of experience and should be just fine for a simple evacuation assignment.
However during the mission briefing, the Marines are informed that the meteors that are hitting off the coast of major cities around the world contain metallic centers and that this is very likely an invasion from an unknown force. While the Marines are deploying an otherworldly fighting unit emerges destroying everything in their path as they moved inland from the coast line. Unsure what they are dealing with, the military decides to carpet bomb the city in order to contain the alien threat and give Nantz and his unit three hours to enter the combat zone and evacuate civilians from a police station.
While the movie is for the most part the standard soldiers-at-war film which substitute’s aliens for the usual enemy forces, the strength of the cast and the solid action and special effects help the movie overcome many of its shortcomings. There is little character development in the film and scenarios that were introduced in some of the characters’ backstories early in the film were given little to no chance to develop once the shooting started.
I also had an issue with some of the tactics in the film. While it may seem nitpicking there were a few scenes where the soldiers didn’t follow logical courses of engagement until later in the film. I have had only the most basic of combat instruction from my brief time in the Air Force, yet I can think of at least four scenarios in the film where the unit failed to use the most logical options available in their combat situation. Of course any film dealing with an alien invasion is sure to have plot holes and yes I can quibble about the Air Force waiting three hours to bomb a heavily overrun area when containment would have been priority one in not allowing a hostile force that much time to entrench itself.
That being said it was an interesting and entertaining film. The enemy was sufficiently mysterious and dangerous enough to hold my interest and had me rooting desperately for the troops to rise up and strike back at the enemy. Michelle Rodriguez does fine supporting work in the role of an Air Force Tech Sgt. who may have the key to turning the tide of the battle. Eckhart is solid as the gruff but caring staff sergeant is equally strong and his unit of young corporals, including R&B singer Ne-Yo, are believable.
Director Jonathan Liebesman knows the core intention of this film is and in doing so provides enough action to keep the audience entertained throughout. despite some issues with pacing and plot. While it doesn’t have the epic feel of Independence Day, Battle: Los Angeles is a film that provides enough entertainment to make it one of the better alien invasion films ever made and one that I certainly would not mind seeing revisited in a future sequel.
3.5 stars out of 5
Bong Mines Entertainment (15 KP) rated Rather You Than Me by Rick Ross in Music
Jun 7, 2019
Rick Ross is a rapper and CEO of Maybach Music Group. Not too long ago, he released “Rather You Than Me“, a star-studded album filled with expensive thoughts and gun-toting lyrics.
This is Ross’ ninth studio album, and we can agree that his wisdom and wishful thinking are two ingredients which make this project noteworthy.
1) Rick Ross – “Apple of My Eye” (ft. Raphael Saadiq)
Ross, who used to view himself as a fat ugly ni^^a who wouldn’t be anything, now feels out of place in a room full of failures. His lyrical growth is obvious, and Major Nine’s production is reminiscent of ‘90s Funk/R&B. The mood is laid back with choppy drums beating to Beanie Sigel’s “I Feel It in the Air’ vibe.
Ross injects his thoughts about Meek’s & Nicki’s breakup, “I told Meek I wouldn’t trust Nicki, instead of beefing with your dog, you just give him some distance.” But the questionable, “I’m happy Donald Trump became the president because we gotta destroy before we elevate,” had us scratching our heads. Ni^^a what? Anyhow, this is a dope track and we will bump it again.
2) Rick Ross – “Santorini Greece”
Ross realizes that his success doesn’t exempt him from being crucified like Christ or anyone else. But one thing’s for sure, success gave Ross the ability to travel the world, and the bragging rights to say that he put Santorini, Greece on the map.
3) Rick Ross – “Idols Become Rivals” (ft. Chris Rock)
After letting the first two songs marinate, Ross adds a plot to the scene and pens a letter to Birdman, the CEO of Cash Money Records. If Tupac’s “Against All Odds” is the realest sh^t ever written in hip-hop, then this song is not too far behind. Ross airs out the rap mogul’s dirty laundry while taking him to the cleaners at the same time.
Black Metaphor’s track is laid back and Ross’s melodic flow is hypnotic. And Ross reaches Godfather status when he chooses to stick up for DJ Khalid, BG, Lil Wayne, Mannie Fresh, etc.
4) Rick Ross – “Trap Trap Trap” (ft. Young Thug, Wale)
Ross turns up the pulse and takes us on a trap journey with Young Thug and Wale. But unfortunately, Ross talking about trapping isn’t stimulating and doesn’t contribute to the momentum gained by the first three songs. Quite frankly, Ross already established his trapping legacy on his first album.
Now, it just sounds repetitive, causing our emotional attachment to depart temporarily, especially when Wale raps, “I ain’t nothing like them trap guys,” got us questioning the lineup, even though Wale delivers a dope verse. If the first three songs brought us to the third eye or crown chakra, then this song took us down to the solar chakra.
5) Rick Ross – “Dead Presidents” (ft. Future, Jeezy, Yo Gotti)
Ross goes lower to the root chakra and brings in a drug-dealing line up to support his trapping movement. But the drug-dealing references and gun-toting accolades blow a huge black cloud over Rather You Than Me, an optimistic album that Ross created to showcase his happiness of seeing other survivalist enjoying the finer things in life.
So, every time a dark thought or a dire situation is inserted, it defeats Ross’ higher purpose for the album. We would’ve appreciated this song more if it was on another project with a trapping theme.
6) Rick Ross – “She’s on My D*ck” (ft. Gucci Mane)
A dope, hard-knocking track produced by Beat Billionaire, keeps the momentum going horizontally when it should be moving vertically north towards Ross’ original script. This song has a mediocre theme and suffers from lack of creativity in the chorus, but the beat saves the song. [usr 3.0]
7) Rick Ross – “I Think She Like Me” (ft. Ty Dolla $ign)
Ross probably heard us yelling, “Stick to the script” because he restores order over J-Pilot- & C Gutta-produced track.
Ross raps with a Barry White vocal tone, “I once got no allowance, now I got the crown. I said I was The Boss, nobody made a sound. Really had to see them things, this level story telling. Who else could flip a chorus into 40 million?”
Ross wins here, and he wins big. One of the best in the business to talk that talk and Ty Dollar $ign comes through in the clutch.
8) Rick Ross – “Powers That Be” (ft. Nas)
Now in storytelling mode, Ross enlists lyricist Nas to help him usher his concept. The lyrics are on point but the fullness of the song is lackluster. We expected more, but only got a few firecrackers igniting, roman candles busting, minus the major firework show. It felt like an appetizer. You know? If you eat enough, you might be too full to finish your incoming meal.
9) Rick Ross – “Game Ain’t Based on Sympathy”
Ross reminisces about his past over a dope soul-inspired track with a groovy/psychedelic loop that blends in naturally with Ross’s deep monotone.
We can listen to Ross rap for hours, especially if he’s talking about conscious issues.
10) Rick Ross – “Scientology”
As the momentum, gradually rises back to the crown, Ross flows over a dope, wonderland of sounds track produced by Bink! & The Youngstars. Like going up an elevator, Ross took us to a destination that we didn’t know existed.
11) Lamborghini Doors – (ft. Meek Mill, Anthony Hamilton)
If it’s not broke, don’t fix it. Ross’ decision to follow in the same direction as “Scientology” was the right one because Ross’ and Meek Mill’s chemistry is heartfelt. Since the momentum is moving upwards towards the sky, it’s fitting when Meek said, “We coming up like them Lamborghini doors.”
12) Triple Platinum – (ft. Scrilla)
The prayer at the beginning does the album justice; and when Ross said, “Me and HOV back and forth like I’m triple platinum,” we saw how far Ross had come, and how far he still must go.
13) Maybach Music V – (ft. Katt Rockell & Dej Loaf)
Ross and Dej Loaf rap over an airy/dreamy track produced by Beat Butcha & Buda & Grandz. More expensive thoughts and money spending don’t hurt the momentum if the topic is about the finer things in life.
14) Summer Seventeen – (ft. Yo Gotti)
In conclusion, Ross ends the album on a gangster note. And the Beat Billionaire-produced track is hard as steel and bump-worthy. We love the theme, “I want my ni^^as rich by summer seventeen”, a wishful thought like that is what ‘Rather You Than Me’ is all about—everybody eating.
https://www.bongminesentertainment.com/rick-ross-rather-review/
This is Ross’ ninth studio album, and we can agree that his wisdom and wishful thinking are two ingredients which make this project noteworthy.
1) Rick Ross – “Apple of My Eye” (ft. Raphael Saadiq)
Ross, who used to view himself as a fat ugly ni^^a who wouldn’t be anything, now feels out of place in a room full of failures. His lyrical growth is obvious, and Major Nine’s production is reminiscent of ‘90s Funk/R&B. The mood is laid back with choppy drums beating to Beanie Sigel’s “I Feel It in the Air’ vibe.
Ross injects his thoughts about Meek’s & Nicki’s breakup, “I told Meek I wouldn’t trust Nicki, instead of beefing with your dog, you just give him some distance.” But the questionable, “I’m happy Donald Trump became the president because we gotta destroy before we elevate,” had us scratching our heads. Ni^^a what? Anyhow, this is a dope track and we will bump it again.
2) Rick Ross – “Santorini Greece”
Ross realizes that his success doesn’t exempt him from being crucified like Christ or anyone else. But one thing’s for sure, success gave Ross the ability to travel the world, and the bragging rights to say that he put Santorini, Greece on the map.
3) Rick Ross – “Idols Become Rivals” (ft. Chris Rock)
After letting the first two songs marinate, Ross adds a plot to the scene and pens a letter to Birdman, the CEO of Cash Money Records. If Tupac’s “Against All Odds” is the realest sh^t ever written in hip-hop, then this song is not too far behind. Ross airs out the rap mogul’s dirty laundry while taking him to the cleaners at the same time.
Black Metaphor’s track is laid back and Ross’s melodic flow is hypnotic. And Ross reaches Godfather status when he chooses to stick up for DJ Khalid, BG, Lil Wayne, Mannie Fresh, etc.
4) Rick Ross – “Trap Trap Trap” (ft. Young Thug, Wale)
Ross turns up the pulse and takes us on a trap journey with Young Thug and Wale. But unfortunately, Ross talking about trapping isn’t stimulating and doesn’t contribute to the momentum gained by the first three songs. Quite frankly, Ross already established his trapping legacy on his first album.
Now, it just sounds repetitive, causing our emotional attachment to depart temporarily, especially when Wale raps, “I ain’t nothing like them trap guys,” got us questioning the lineup, even though Wale delivers a dope verse. If the first three songs brought us to the third eye or crown chakra, then this song took us down to the solar chakra.
5) Rick Ross – “Dead Presidents” (ft. Future, Jeezy, Yo Gotti)
Ross goes lower to the root chakra and brings in a drug-dealing line up to support his trapping movement. But the drug-dealing references and gun-toting accolades blow a huge black cloud over Rather You Than Me, an optimistic album that Ross created to showcase his happiness of seeing other survivalist enjoying the finer things in life.
So, every time a dark thought or a dire situation is inserted, it defeats Ross’ higher purpose for the album. We would’ve appreciated this song more if it was on another project with a trapping theme.
6) Rick Ross – “She’s on My D*ck” (ft. Gucci Mane)
A dope, hard-knocking track produced by Beat Billionaire, keeps the momentum going horizontally when it should be moving vertically north towards Ross’ original script. This song has a mediocre theme and suffers from lack of creativity in the chorus, but the beat saves the song. [usr 3.0]
7) Rick Ross – “I Think She Like Me” (ft. Ty Dolla $ign)
Ross probably heard us yelling, “Stick to the script” because he restores order over J-Pilot- & C Gutta-produced track.
Ross raps with a Barry White vocal tone, “I once got no allowance, now I got the crown. I said I was The Boss, nobody made a sound. Really had to see them things, this level story telling. Who else could flip a chorus into 40 million?”
Ross wins here, and he wins big. One of the best in the business to talk that talk and Ty Dollar $ign comes through in the clutch.
8) Rick Ross – “Powers That Be” (ft. Nas)
Now in storytelling mode, Ross enlists lyricist Nas to help him usher his concept. The lyrics are on point but the fullness of the song is lackluster. We expected more, but only got a few firecrackers igniting, roman candles busting, minus the major firework show. It felt like an appetizer. You know? If you eat enough, you might be too full to finish your incoming meal.
9) Rick Ross – “Game Ain’t Based on Sympathy”
Ross reminisces about his past over a dope soul-inspired track with a groovy/psychedelic loop that blends in naturally with Ross’s deep monotone.
We can listen to Ross rap for hours, especially if he’s talking about conscious issues.
10) Rick Ross – “Scientology”
As the momentum, gradually rises back to the crown, Ross flows over a dope, wonderland of sounds track produced by Bink! & The Youngstars. Like going up an elevator, Ross took us to a destination that we didn’t know existed.
11) Lamborghini Doors – (ft. Meek Mill, Anthony Hamilton)
If it’s not broke, don’t fix it. Ross’ decision to follow in the same direction as “Scientology” was the right one because Ross’ and Meek Mill’s chemistry is heartfelt. Since the momentum is moving upwards towards the sky, it’s fitting when Meek said, “We coming up like them Lamborghini doors.”
12) Triple Platinum – (ft. Scrilla)
The prayer at the beginning does the album justice; and when Ross said, “Me and HOV back and forth like I’m triple platinum,” we saw how far Ross had come, and how far he still must go.
13) Maybach Music V – (ft. Katt Rockell & Dej Loaf)
Ross and Dej Loaf rap over an airy/dreamy track produced by Beat Butcha & Buda & Grandz. More expensive thoughts and money spending don’t hurt the momentum if the topic is about the finer things in life.
14) Summer Seventeen – (ft. Yo Gotti)
In conclusion, Ross ends the album on a gangster note. And the Beat Billionaire-produced track is hard as steel and bump-worthy. We love the theme, “I want my ni^^as rich by summer seventeen”, a wishful thought like that is what ‘Rather You Than Me’ is all about—everybody eating.
https://www.bongminesentertainment.com/rick-ross-rather-review/
Gareth von Kallenbach (980 KP) rated Battleship (2012) in Movies
Aug 7, 2019
Basing a movie off of a videogame is often a risky proposition. For every “Resident Evil”, there at least a dozen others that are out and out disasters, “Mario Brothers”, “Wing Commander”, and “Double Dragon” are a few examples of how not to do it.
While Hollywood shows no signs of stopping videogame adaptations anytime soon, game development companies are becoming more savvy with allowing their products to become movies and are requiring uality scripts, cast, and directors before they enter into any film deal. Undaunted, Hollywood turned its eyes on children’s toys for inspiration. With the successful Transformers series, Hasbro has been targeted for their very popular line of board games as source material for future movies.
First out of the box is “Battleship”, director Peter Berg’s big-budget adaptation of the timeless naval strategy game that has been enjoyed for decades by players young and old. Since this is the era of video games, the simplistic style of the board game needed to be tweaked in order to make it appealing for the summer movie masses.
Gone is the classic strategy of the game and in its place, a loud and brash cast of 20-somethings, over-the-top special effects, and a plot riddled with more holes than the classic grids in the game that spawned the film.
Taylor Kitsch follows up his role in John Carter by playing Alex Hopper, a ne’er-do-well who despite the mentoring of his successful naval officer brother (Alexander Skarsgard), never seems to run out of ways to get himself in trouble. His latest efforts to impress a girl he met in a bar, land him in hot water with the authorities and his brother lays down the law and insists that Alex join the Navy and make something of his life.
The film jumps into the future where Alex is now dating the very attractive girl from the bar, Samantha (Brooklyn Decker), and trying to get enough courage together to ask her father for permission to marry his daughter. The fact that her father is Admiral Shane (Liam Neeson), only complicates the matter.
Despite holding the rank of an officer, Alex is still extremely headstrong and prone to getting himself in trouble. What what was supposed to be a friendly soccer match during allied naval exercises escalates, and Alex finds himself facing an ignominious exit from the Navy. He’s given a temporary reprieve as the ships in his fleet are suddenly faced with the threat of extraterrestrial origins.
Approximately around the same time Alex entered the Navy, scientists developed a way to amplify radio signals and directed them toward planets they believed could possibly support life. The signals were answered in the form of a hostile force that arrives on Earth only to cut a swath of destruction across the world as well as the naval fleet it encounters. Cut off from the rest of the fleet and reinforcements by an energy field, Alex is forced into command and must confront the deadly enemy at all cost to save the world.
What follows is a series of elaborate special effects that, while visually appealing, fail to pack much punch as the plot and characters are so underwhelming.
I understand that for films this type, especially given the source material, one must give a certain amount of leeway and accept, even grudgingly, the inconsistencies and impracticalities. That being said, not only are the characters about as thin and one-dimensional as they possibly could be, they are for the most part utterly devoid of any interesting qualities nor are they given much in the way of back story that makes us care for their outcomes. R&B star Rihanna spends a good chunk of her time looking tough and menacing, but isn’t given much more to do than occasionally fire a gun.
Kitsch is so utterly bland and unsympathetic that there’s just really no redeeming value to his character. Battleship is supposed to be a story of redemption but instead it’s a story of inconsistencies. Many times throughout the film common sense much less standard military procedures seems to go out the window.
For example, standard rules of engagement tactics were not used early in the film, but yet were readily deployed during the so-called big finale to the film with success. One has to wonder how more seasoned officers with far more resources at their disposal failed to utilize such tactics or have success with the methods that they employed. Yet ironically, this young lieutenant on his first command is able to out-maneuver these aliens when he decides to take to the offensive and lull the enemy into a fairly passive mode where they don’t do much more than watch.
The aliens, while interesting, are given precious little to do other than occasionally destroy or blow something up. We have no idea why they are on earth and to be honest, why they arrived in such small force. If the idea was to conquer Earth, it was poorly planned. Yet if proper procedures were followed, their incursion could have been dealt with very early and easily with the resources at hand. But that would’ve made for a short movie.
What I found puzzling was how surprisingly light on action the movie was. Yes there were firefights but they were spread sparingly throughout the film. You do not have one grand epic battle against overwhelming odds, you do not have legions of enemy troops for the Navy to wade through. It was pretty much a here-it-is-take-it-or-leave it, ho-hum finale.
The film does have some good points with Hawaii as its main backdrop. I did like the fact that there were a lot of active and retired soldiers and sailors used in the filming of the picture. It is clear that the filmmakers wanted to honor the soldiers who have so gallantly served our nation. I just wish they could’ve given them a much better showcase, because truthfully you’ll find far more thrills and enjoyment busting out the actual Battleship game than sitting through the film.
There is a scene post-credits that does hint at possible future installments, but I kept asking myself one question, “Why?” Rumor has it that several years goes Steven Segal attempted to revive his big-screen career by pitching an Under Siege 3 to Universal. Segal supposedly pitched the idea that his character would be on a naval ship that encountered extraterrestrial menace. The studio passed on this idea and, if there’s any truth to the rumor, they should have passed on this idea when it came time to make Battleship.
While Hollywood shows no signs of stopping videogame adaptations anytime soon, game development companies are becoming more savvy with allowing their products to become movies and are requiring uality scripts, cast, and directors before they enter into any film deal. Undaunted, Hollywood turned its eyes on children’s toys for inspiration. With the successful Transformers series, Hasbro has been targeted for their very popular line of board games as source material for future movies.
First out of the box is “Battleship”, director Peter Berg’s big-budget adaptation of the timeless naval strategy game that has been enjoyed for decades by players young and old. Since this is the era of video games, the simplistic style of the board game needed to be tweaked in order to make it appealing for the summer movie masses.
Gone is the classic strategy of the game and in its place, a loud and brash cast of 20-somethings, over-the-top special effects, and a plot riddled with more holes than the classic grids in the game that spawned the film.
Taylor Kitsch follows up his role in John Carter by playing Alex Hopper, a ne’er-do-well who despite the mentoring of his successful naval officer brother (Alexander Skarsgard), never seems to run out of ways to get himself in trouble. His latest efforts to impress a girl he met in a bar, land him in hot water with the authorities and his brother lays down the law and insists that Alex join the Navy and make something of his life.
The film jumps into the future where Alex is now dating the very attractive girl from the bar, Samantha (Brooklyn Decker), and trying to get enough courage together to ask her father for permission to marry his daughter. The fact that her father is Admiral Shane (Liam Neeson), only complicates the matter.
Despite holding the rank of an officer, Alex is still extremely headstrong and prone to getting himself in trouble. What what was supposed to be a friendly soccer match during allied naval exercises escalates, and Alex finds himself facing an ignominious exit from the Navy. He’s given a temporary reprieve as the ships in his fleet are suddenly faced with the threat of extraterrestrial origins.
Approximately around the same time Alex entered the Navy, scientists developed a way to amplify radio signals and directed them toward planets they believed could possibly support life. The signals were answered in the form of a hostile force that arrives on Earth only to cut a swath of destruction across the world as well as the naval fleet it encounters. Cut off from the rest of the fleet and reinforcements by an energy field, Alex is forced into command and must confront the deadly enemy at all cost to save the world.
What follows is a series of elaborate special effects that, while visually appealing, fail to pack much punch as the plot and characters are so underwhelming.
I understand that for films this type, especially given the source material, one must give a certain amount of leeway and accept, even grudgingly, the inconsistencies and impracticalities. That being said, not only are the characters about as thin and one-dimensional as they possibly could be, they are for the most part utterly devoid of any interesting qualities nor are they given much in the way of back story that makes us care for their outcomes. R&B star Rihanna spends a good chunk of her time looking tough and menacing, but isn’t given much more to do than occasionally fire a gun.
Kitsch is so utterly bland and unsympathetic that there’s just really no redeeming value to his character. Battleship is supposed to be a story of redemption but instead it’s a story of inconsistencies. Many times throughout the film common sense much less standard military procedures seems to go out the window.
For example, standard rules of engagement tactics were not used early in the film, but yet were readily deployed during the so-called big finale to the film with success. One has to wonder how more seasoned officers with far more resources at their disposal failed to utilize such tactics or have success with the methods that they employed. Yet ironically, this young lieutenant on his first command is able to out-maneuver these aliens when he decides to take to the offensive and lull the enemy into a fairly passive mode where they don’t do much more than watch.
The aliens, while interesting, are given precious little to do other than occasionally destroy or blow something up. We have no idea why they are on earth and to be honest, why they arrived in such small force. If the idea was to conquer Earth, it was poorly planned. Yet if proper procedures were followed, their incursion could have been dealt with very early and easily with the resources at hand. But that would’ve made for a short movie.
What I found puzzling was how surprisingly light on action the movie was. Yes there were firefights but they were spread sparingly throughout the film. You do not have one grand epic battle against overwhelming odds, you do not have legions of enemy troops for the Navy to wade through. It was pretty much a here-it-is-take-it-or-leave it, ho-hum finale.
The film does have some good points with Hawaii as its main backdrop. I did like the fact that there were a lot of active and retired soldiers and sailors used in the filming of the picture. It is clear that the filmmakers wanted to honor the soldiers who have so gallantly served our nation. I just wish they could’ve given them a much better showcase, because truthfully you’ll find far more thrills and enjoyment busting out the actual Battleship game than sitting through the film.
There is a scene post-credits that does hint at possible future installments, but I kept asking myself one question, “Why?” Rumor has it that several years goes Steven Segal attempted to revive his big-screen career by pitching an Under Siege 3 to Universal. Segal supposedly pitched the idea that his character would be on a naval ship that encountered extraterrestrial menace. The studio passed on this idea and, if there’s any truth to the rumor, they should have passed on this idea when it came time to make Battleship.