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Chris Sawin (602 KP) rated Ready Player One (2018) in Movies
Jun 18, 2019 (Updated Jun 18, 2019)
Steven Spielberg's (Mostly) Triumphant Return to Sci-Fi
If we’re being honest here, writer to reader, I never got around to reading Ernest Cline’s Ready Player One novel despite the fact that it’s sitting on a bookshelf less than ten feet from me as I type this. It turned out not to matter that much since Steven Spielberg took liberties with the source material. In the film, a virtual video game reality known as the OASIS is where everyone spends their time in the year 2045. Our main character Wade Watts (Tye Sheridan) lives in, “The Stacks,” which is basically just a bunch of mobile homes stacked on top of each other. The coin collected in the OASIS as well as purchases within the game have evolved into an individual's life savings in the real world. Everyone wants to escape their crappy life and the OASIS is now all that matters.
James Halliday (Mark Rylance), creator of the OASIS, dies suddenly but he leaves behind a treasure hunt for three keys hidden within the depths of the OASIS with the main prize being an Easter egg that would allow the winner to have complete control over the entirety of the OASIS. Wade (as his avatar Parzival) intends to win Halliday’s challenge to get out of The Stacks and adopts the title of Gunter (egg hunter) along with his friends Aech (Lena Waithe), Art3mis (Olivia Cooke), and brothers Daito (Win Morisaki) and Sho (Philip Zhao) who become known together as the, “HIgh Five,” but a video game conglomerate known as Innovative Online Industries or IOI spends all of their time and money attempting to find the secrets Halliday has hidden. IOI consists of an army known as the Sixers, which are players who owe large debts to the OASIS. CEO of IOI Nolan Sorrento (Ben Mendelsohn) intends to take the free-to-use OASIS and transform it into a monetized monopoly.
The storyline of Spielberg’s Ready Player One reminds me of the 19th episode of season two of Regular Show entitled, “High Score.” In that episode, Mordecai and Rigby attempt to beat the world record on a video game with record holder Garrett Bobby Ferguson (GBF or Giant Bearded Face). Ready Player One kind of expands on that concept and throws in a ton of nostalgic movie references while being set in the future. The weird thing is that those recycled moments that call back to the movies of yesteryear are the highlights of Ready Player One while the rest of the film suffers from Spielberg’s usual shortcomings.
I haven’t enjoyed a Steven Spielberg film since 2011’s The Adventures of Tintin. That combined with the trailer coming off as less than impressive and poster art from the marketing campaign (the main poster illustrated by Drew Struzan is amazing) that seemed to rely on generic face swapping via Photoshop on well-known movie posters had me really underwhelmed for the film overall. The film itself also suffers from corny dialogue, tender and romantic moments feeling force fed and overwhelming, and head-scratching sequences that leave you wondering why they needed to be included in the first place (the whole dance club/second challenge scene, for starters).
However, what the science fiction adventure gets right is the reason why you go to the movies. Spielberg along with cinematographer and frequent collaborator Janusz Kaminski know how to smoothly and effectively capture dynamic shots with a camera. When we first see Wade in The Stacks, he slides down a series of ropes and poles passing by and through various homes and junkyard cars that no longer run all while showcasing how plugged into a false reality civilization has become. The first race sequence of the film is also extraordinary with its fast pace and hectic action that is fairly easy to digest due to the sleek camera work. There’s a fairly lengthy segment devoted to a beloved horror film that is legitimately fantastic since it is not only a throwback to that original film, but it’s also injected with new thrilling terrors that you won’t see coming. Most battle sequences in the film with large ensembles are impressive for all of the obvious reasons; solid special effects, mass number of characters on the screen, a delicious dose of destruction, and most of all a countless series of references to movies, video games, and cartoons that you probably love. Witnessing what characters will pop up, when, and how they’ll be utilized is half of what makes Ready Player One so fun; it’s like a big budget version of South Park’s Imaginationland.
You either love or hate what Steven Spielberg has accomplished as a filmmaker, but it’s difficult not to admit that Ready Player One is a hell of a lot of fun even if you have some issues with the film. Spielberg has this cliche quality to him that is completely overbearing at times and he isn’t able to escape that aspect of his filmmaking with Ready Player One, but there’s enough of an entertaining and nostalgic value combined with not knowing who’s going to pop up next and some incredible cinematography highlighted by fluid yet flashy special effects resulting in a film that will be exciting and fun for anyone who was ever or still is a rabid gamer or movie lover. Spielberg has crafted a surefire crowd-pleaser that is basically a two and a half hour sentimental plunge directly into your childhood.
James Halliday (Mark Rylance), creator of the OASIS, dies suddenly but he leaves behind a treasure hunt for three keys hidden within the depths of the OASIS with the main prize being an Easter egg that would allow the winner to have complete control over the entirety of the OASIS. Wade (as his avatar Parzival) intends to win Halliday’s challenge to get out of The Stacks and adopts the title of Gunter (egg hunter) along with his friends Aech (Lena Waithe), Art3mis (Olivia Cooke), and brothers Daito (Win Morisaki) and Sho (Philip Zhao) who become known together as the, “HIgh Five,” but a video game conglomerate known as Innovative Online Industries or IOI spends all of their time and money attempting to find the secrets Halliday has hidden. IOI consists of an army known as the Sixers, which are players who owe large debts to the OASIS. CEO of IOI Nolan Sorrento (Ben Mendelsohn) intends to take the free-to-use OASIS and transform it into a monetized monopoly.
The storyline of Spielberg’s Ready Player One reminds me of the 19th episode of season two of Regular Show entitled, “High Score.” In that episode, Mordecai and Rigby attempt to beat the world record on a video game with record holder Garrett Bobby Ferguson (GBF or Giant Bearded Face). Ready Player One kind of expands on that concept and throws in a ton of nostalgic movie references while being set in the future. The weird thing is that those recycled moments that call back to the movies of yesteryear are the highlights of Ready Player One while the rest of the film suffers from Spielberg’s usual shortcomings.
I haven’t enjoyed a Steven Spielberg film since 2011’s The Adventures of Tintin. That combined with the trailer coming off as less than impressive and poster art from the marketing campaign (the main poster illustrated by Drew Struzan is amazing) that seemed to rely on generic face swapping via Photoshop on well-known movie posters had me really underwhelmed for the film overall. The film itself also suffers from corny dialogue, tender and romantic moments feeling force fed and overwhelming, and head-scratching sequences that leave you wondering why they needed to be included in the first place (the whole dance club/second challenge scene, for starters).
However, what the science fiction adventure gets right is the reason why you go to the movies. Spielberg along with cinematographer and frequent collaborator Janusz Kaminski know how to smoothly and effectively capture dynamic shots with a camera. When we first see Wade in The Stacks, he slides down a series of ropes and poles passing by and through various homes and junkyard cars that no longer run all while showcasing how plugged into a false reality civilization has become. The first race sequence of the film is also extraordinary with its fast pace and hectic action that is fairly easy to digest due to the sleek camera work. There’s a fairly lengthy segment devoted to a beloved horror film that is legitimately fantastic since it is not only a throwback to that original film, but it’s also injected with new thrilling terrors that you won’t see coming. Most battle sequences in the film with large ensembles are impressive for all of the obvious reasons; solid special effects, mass number of characters on the screen, a delicious dose of destruction, and most of all a countless series of references to movies, video games, and cartoons that you probably love. Witnessing what characters will pop up, when, and how they’ll be utilized is half of what makes Ready Player One so fun; it’s like a big budget version of South Park’s Imaginationland.
You either love or hate what Steven Spielberg has accomplished as a filmmaker, but it’s difficult not to admit that Ready Player One is a hell of a lot of fun even if you have some issues with the film. Spielberg has this cliche quality to him that is completely overbearing at times and he isn’t able to escape that aspect of his filmmaking with Ready Player One, but there’s enough of an entertaining and nostalgic value combined with not knowing who’s going to pop up next and some incredible cinematography highlighted by fluid yet flashy special effects resulting in a film that will be exciting and fun for anyone who was ever or still is a rabid gamer or movie lover. Spielberg has crafted a surefire crowd-pleaser that is basically a two and a half hour sentimental plunge directly into your childhood.
Gareth von Kallenbach (968 KP) rated the PC version of Titanfall in Video Games
Jun 19, 2019
Much like Hollywood, the gaming industry is one built on hype and expectations. The nature of the game is to fan the flames of interest to ensure the best possible sales of a product and to encourage people to pre-order the title.
The rise of social media has only added to the frenzy as the race to get a title trending has publicists constantly in motion. Like many things though, the danger of hype and expectations being greater than the final product is always a constant threat.
TitanFall in many ways is the biggest release of 2014 to date and is one of the most watched, analyzed, and anticipated games in recent memory. Created by Respawn, the talents behind Infinity Ward and the Call of Duty series, a game mixing first person shooter and Mech combat with eye-popping graphics is one that was sure to grab attention.
When it was announced the game would be exclusive to the Xbox 360 and Xbox One consoles there was some concern from a gamer base eager to experience the game on as many platforms as they could. Thankfully the game was also released on PC and that is the platform in which conducted my review.
The game is online only and mixes live opponents with bots in a series of campaigns and matches where players not only try to eliminate as many enemy units as possible, but they also can battle to capture and hold strategic points and other objectives.
The game has a high degree of customization as players level up based on kills and in game achievements and leveling up allows access to new weapons, attachments, and abilities which really help the tide of battle.
The campaigns are told from two different perspectives and once players complete the Militia campaign they get to experience the same campaign from the other side of the conflict, The IMC Corporation. What you do or do not do does not really change the outcome of the story as the campaigns are essentially cut scenes as a level loads and do not really give a full explanation of the story. It almost seemed to me as if a full campaign was planned at one time and then scrapped, but elements were left in for the sake of ambiance.
Story aside, the action in the game is intense. Running at full settings on PC with an NVIDIA card, the action was fast, smooth, and amazing. On rare instances when I could look up safely, I saw ships overhead engaged in heated battles and the detail level of the cites and combat locales were great. I especially liked one that had dragon like creatures around while combat raged on.
Players have options for their Titans ranging from the Atlas, Styrder an Ogre which aside from missile and ballistic weapons have energy shields, temporary jet boosts and a devastating punch which can reduce enemy units to pulp.
Finding the right mix of speed, agility, power, and weapons is a matter of personal choice and being able to eject from a damaged unit or ride along on an allied unit is great fun. The best experience for me was jumping onto an enemy unit and blasting it down but hanging on and shooting into a control port.
As much fun as the Titan combat is, players will spend a good chunk of their time on foot. Getting up close and personal with a melee kill is great as is feasting on bots and other A.I. units. The challenge of taking on other pilots is tough, but highly enjoyable as when you take one down you have earned it. Players will have power ups known as Burn Cards which come in handy especially when two minutes is about what players can expect to wait for their Titan to arrive after they have lost one.
I enjoy using the personal cloak of my pilot to sneak up on an enemy unit and my new tactic is to dismount from my mech and set it in Guard or Follow mode. It will engage an enemy or another Titan which allows me to flank and attack from a cross fire.
Aside from some minor connection issues during the first two days, I was able to get into games with no issues and my lag was minimal as I was able to ping in the low 50s for most games.
While the campaigns were fairly short, the multitude of Deathmatch, Hardpoint, and last Titan Standing multiplay options ensures several hours of gaming ahead.
I have not really touched on the wall walking and double jump features as pilots can scale walls, buildings, and such with ease which brings a new dimension to combat and comes in very handy when running to catch your ride.
I hope that the developers will offer more maps in the near future and will work to tweak a few minor things such as play balance which saw me unload multiple machine gun rounds into an enemy yet see them able to withstand that and dispatch me with a single kick.
It is hard to find much to complain about the game as not only on PC is it a visual joy, but the fast paced action and highly satisfying and diverse combat options makes the game incredibly fun to play and an early contender for our Game of the Year Awards.
http://sknr.net/2014/03/12/titanfall/
The rise of social media has only added to the frenzy as the race to get a title trending has publicists constantly in motion. Like many things though, the danger of hype and expectations being greater than the final product is always a constant threat.
TitanFall in many ways is the biggest release of 2014 to date and is one of the most watched, analyzed, and anticipated games in recent memory. Created by Respawn, the talents behind Infinity Ward and the Call of Duty series, a game mixing first person shooter and Mech combat with eye-popping graphics is one that was sure to grab attention.
When it was announced the game would be exclusive to the Xbox 360 and Xbox One consoles there was some concern from a gamer base eager to experience the game on as many platforms as they could. Thankfully the game was also released on PC and that is the platform in which conducted my review.
The game is online only and mixes live opponents with bots in a series of campaigns and matches where players not only try to eliminate as many enemy units as possible, but they also can battle to capture and hold strategic points and other objectives.
The game has a high degree of customization as players level up based on kills and in game achievements and leveling up allows access to new weapons, attachments, and abilities which really help the tide of battle.
The campaigns are told from two different perspectives and once players complete the Militia campaign they get to experience the same campaign from the other side of the conflict, The IMC Corporation. What you do or do not do does not really change the outcome of the story as the campaigns are essentially cut scenes as a level loads and do not really give a full explanation of the story. It almost seemed to me as if a full campaign was planned at one time and then scrapped, but elements were left in for the sake of ambiance.
Story aside, the action in the game is intense. Running at full settings on PC with an NVIDIA card, the action was fast, smooth, and amazing. On rare instances when I could look up safely, I saw ships overhead engaged in heated battles and the detail level of the cites and combat locales were great. I especially liked one that had dragon like creatures around while combat raged on.
Players have options for their Titans ranging from the Atlas, Styrder an Ogre which aside from missile and ballistic weapons have energy shields, temporary jet boosts and a devastating punch which can reduce enemy units to pulp.
Finding the right mix of speed, agility, power, and weapons is a matter of personal choice and being able to eject from a damaged unit or ride along on an allied unit is great fun. The best experience for me was jumping onto an enemy unit and blasting it down but hanging on and shooting into a control port.
As much fun as the Titan combat is, players will spend a good chunk of their time on foot. Getting up close and personal with a melee kill is great as is feasting on bots and other A.I. units. The challenge of taking on other pilots is tough, but highly enjoyable as when you take one down you have earned it. Players will have power ups known as Burn Cards which come in handy especially when two minutes is about what players can expect to wait for their Titan to arrive after they have lost one.
I enjoy using the personal cloak of my pilot to sneak up on an enemy unit and my new tactic is to dismount from my mech and set it in Guard or Follow mode. It will engage an enemy or another Titan which allows me to flank and attack from a cross fire.
Aside from some minor connection issues during the first two days, I was able to get into games with no issues and my lag was minimal as I was able to ping in the low 50s for most games.
While the campaigns were fairly short, the multitude of Deathmatch, Hardpoint, and last Titan Standing multiplay options ensures several hours of gaming ahead.
I have not really touched on the wall walking and double jump features as pilots can scale walls, buildings, and such with ease which brings a new dimension to combat and comes in very handy when running to catch your ride.
I hope that the developers will offer more maps in the near future and will work to tweak a few minor things such as play balance which saw me unload multiple machine gun rounds into an enemy yet see them able to withstand that and dispatch me with a single kick.
It is hard to find much to complain about the game as not only on PC is it a visual joy, but the fast paced action and highly satisfying and diverse combat options makes the game incredibly fun to play and an early contender for our Game of the Year Awards.
http://sknr.net/2014/03/12/titanfall/
Gareth von Kallenbach (968 KP) rated Tusk (2014) in Movies
Jun 19, 2019
To legions of his many fans, writer, director, producer, and podcaster Kevin Smith is a man fanboys find easy to root for. His films have become pop-culture gold to comic book, science fiction, and general geekdom fans the world over. Smith has built a career on independent films with characters that are as real as they are raw and raunchy. The crude nature of his jokes often put him in a “love them or hate them” category for many critics as it is definitely not a style that is for the masses. That being said, the films are witty, honest, and most times relatable, no matter how bad the situations and the characters become. Recently, Smith took a detour to the darker side with his film “Red State” that looked at a group of kids who became the victims of a fanatical cult leader and his followers.
While Smith was reportedly working to get funding for “Clerks 3”, an idea was presented to him during his Smodcast about a guy in rural Canada who is offering free room and board to anybody who would live with him on the condition that they wear a walrus costume from time to time. Buoyed by his followers on Twitter, Smith decided to make a horror film based on the situation even after learning that the incident in question was the result of a prank by a comedian.
In his new film Tusk, we are introduced to a successful podcaster named Wallace (Justin Long), who along with his costar Teddy (Haley Joel Osment), run a show called the Not See Party, whose name leads to several double takes and comical and uncomfortable situations down the line. Wallace’s girlfriend Ally (Genesis Rodriguez) wishes to accompany Wallace to his trip up to Canada in order to interview someone for a show.
Since Teddy is not a flyer, Wallace travels to locations to interview people and then in turn tells the stories to Teddy so the two can comment about them on air. Ally longs for the Wallace of old who was a struggling comedian as she believes that the successful Wallace is not that fun to be around as he no longer makes her a priority in life. Wallace admits as much when he discloses a series of infidelities to Teddy and dismisses them as nothing more than clearing of the head while traveling or before doing a live show for an audience.
Upon arriving in Manitoba, Wallace learns that his intended interview has befallen tragedy and faced without a topic for his next show, Wallace is intrigued by a flyer from a man offering room and board as well as plenty of stories.
Wallace makes contact with the individual and travels two hours into rural Manitoba at night to meet the man at his expansive estate. Upon meeting Howard Howe (Michael Parks), Wallace is captivated by the elderly wheelchair-bound gentleman and his tales of life at sea including meeting Ernest Hemingway during the war. As Wallace sat spellbound by the tales Howard is telling him, he soon falls unconscious as a result of being drugged by his host. Things take a very dark turn the following morning when Howard learns that he has lost a leg of which Howard proclaims was the tragic result of a spider bite. Things become a living nightmare as Wallace quickly learns just how devious and diabolical Michael’s plans are for him and trapped in a remote area his humanity and faith are slowly stripped away by the situation he finds himself in.
Teddy and Ally travel to Manitoba due to a frantic call Wallace makes and not finding much assistance from the local authorities, turn to quirky and eccentric former homicide detective Guy LaPointe (Johnny Depp), who fears that Wallace has become the victim of an elusive killer whom LaPointe has been trying to find for years.
What follows is a dark, disturbing, and utterly captivating thriller in a race against time with the very essence and humanity of Wallace hanging in the balance.
While Smith inserts his trademark humor into the film, this is very much a psychological thriller and not a comedy. Depp does a fantastic job and is almost unrecognizable in his role as a homicide detective who is scheduled to appear in a subsequent film currently shooting. While it seemed a bit of a stretch that Ally would want be involved with Wallace, there was nonetheless a good bit of chemistry between them even though the majority of their scenes are shown via flashback.
Long and Parks propel the story as it is pretty much about the dramatic struggle between the two of them. Parks is captivating and creepy while the brash Wallace gets a lesson in humanity and what truly matters in life. While some will no doubt find the subject matter highly disturbing and may be quick to dismiss the film, this is one of the more clever and enjoyable thrillers in recent years and proves that Smith is a filmmaker capable of doing things other than his trademark comedies and should be encouraged to continue to broaden his horizons.
As it stands the film should delight fans of Smith but also allows him to expand his audience into new areas as this truly is one of the more memorable and entertaining films of the year.
http://sknr.net/2014/09/19/tusk/
While Smith was reportedly working to get funding for “Clerks 3”, an idea was presented to him during his Smodcast about a guy in rural Canada who is offering free room and board to anybody who would live with him on the condition that they wear a walrus costume from time to time. Buoyed by his followers on Twitter, Smith decided to make a horror film based on the situation even after learning that the incident in question was the result of a prank by a comedian.
In his new film Tusk, we are introduced to a successful podcaster named Wallace (Justin Long), who along with his costar Teddy (Haley Joel Osment), run a show called the Not See Party, whose name leads to several double takes and comical and uncomfortable situations down the line. Wallace’s girlfriend Ally (Genesis Rodriguez) wishes to accompany Wallace to his trip up to Canada in order to interview someone for a show.
Since Teddy is not a flyer, Wallace travels to locations to interview people and then in turn tells the stories to Teddy so the two can comment about them on air. Ally longs for the Wallace of old who was a struggling comedian as she believes that the successful Wallace is not that fun to be around as he no longer makes her a priority in life. Wallace admits as much when he discloses a series of infidelities to Teddy and dismisses them as nothing more than clearing of the head while traveling or before doing a live show for an audience.
Upon arriving in Manitoba, Wallace learns that his intended interview has befallen tragedy and faced without a topic for his next show, Wallace is intrigued by a flyer from a man offering room and board as well as plenty of stories.
Wallace makes contact with the individual and travels two hours into rural Manitoba at night to meet the man at his expansive estate. Upon meeting Howard Howe (Michael Parks), Wallace is captivated by the elderly wheelchair-bound gentleman and his tales of life at sea including meeting Ernest Hemingway during the war. As Wallace sat spellbound by the tales Howard is telling him, he soon falls unconscious as a result of being drugged by his host. Things take a very dark turn the following morning when Howard learns that he has lost a leg of which Howard proclaims was the tragic result of a spider bite. Things become a living nightmare as Wallace quickly learns just how devious and diabolical Michael’s plans are for him and trapped in a remote area his humanity and faith are slowly stripped away by the situation he finds himself in.
Teddy and Ally travel to Manitoba due to a frantic call Wallace makes and not finding much assistance from the local authorities, turn to quirky and eccentric former homicide detective Guy LaPointe (Johnny Depp), who fears that Wallace has become the victim of an elusive killer whom LaPointe has been trying to find for years.
What follows is a dark, disturbing, and utterly captivating thriller in a race against time with the very essence and humanity of Wallace hanging in the balance.
While Smith inserts his trademark humor into the film, this is very much a psychological thriller and not a comedy. Depp does a fantastic job and is almost unrecognizable in his role as a homicide detective who is scheduled to appear in a subsequent film currently shooting. While it seemed a bit of a stretch that Ally would want be involved with Wallace, there was nonetheless a good bit of chemistry between them even though the majority of their scenes are shown via flashback.
Long and Parks propel the story as it is pretty much about the dramatic struggle between the two of them. Parks is captivating and creepy while the brash Wallace gets a lesson in humanity and what truly matters in life. While some will no doubt find the subject matter highly disturbing and may be quick to dismiss the film, this is one of the more clever and enjoyable thrillers in recent years and proves that Smith is a filmmaker capable of doing things other than his trademark comedies and should be encouraged to continue to broaden his horizons.
As it stands the film should delight fans of Smith but also allows him to expand his audience into new areas as this truly is one of the more memorable and entertaining films of the year.
http://sknr.net/2014/09/19/tusk/
Gareth von Kallenbach (968 KP) rated V for Vendetta (2005) in Movies
Aug 14, 2019
On a dark and silent night, a young woman named Evey (Natalie Portman), treads carefully through the streets of London unaware of the direction her life is about to take. As an attractive young lady, sneaking out of her home after curfew is filled with peril, especially when she is confronted by a gang of local thugs who happen to work for the government. Despite her protests, the men set up Evey only to be confronted by a masked figure.
The masked figure quickly dispatches the assailants and offers to escort Evey to safety. Despite being scared, Evey does accompany the figure to a rooftop where she is treated to a spectacular explosion set to music.
Thus begins V for Vendetta a film that mixes “The Phantom of the Opera” “Beauty and the Beast” and ?” to create a gothic love story and biting social commentary about the dangers of governmental control and censorship in a society gone awry.
In London of the near future, it is learned that a series of terrorist attacks have left thousands dead which resulted in stricter governmental controls and intrusions into privacy and lifestyles. Those who did not conform nor meet expectations often vanished never to be heard from again. Such was the case of Evey’s parents who decided to protest governmental policies and soon found themselves beaten and whisked away in the night.
Behind all of the oppression is a man named Adam Sutler (John Hurt), a monomaniacal leader who rules with an iron fist and an extreme agenda that he has manipulated to make himself and unopposed ruler of the nation.
While most of the population lives in fear of Sutler and his men, there is one who does not, a mysterious masked figure named V (Hugo Weaving), who dons a Guy Fawkes mask in tribute to the man who centuries ago attempted to destroy Parliament. When V is able to temporarily gain control of the television network for the government, he is able to broadcast his message to the people that the time has come to take back their lives and society and stop living in fear. Towards this end, V pledges to the masses that he will destroy Parliament in 1 year and that the people should gather to watch the destruction unfold.
This bold proclamation causes Sutler to stop at nothing to capture V and he tasks his Chief Inspector Finch (Stephen Rea), to locate V. Since Evey worked at the television station and was observed helping V on a security monitor, Finch decides to locate Evey and force her to reveal the locale of the mysterious vigilante.
This task proves difficult as V has taken Evey into his protection and forces her to live in his luxurious yet secluded home in order to avoid the police forces.
It is during this time that Evey learns that V is a study in contrast. On one hand he is a very sophisticated person with a taste for the arts, culture, and a desire to see people free to live their lives as they desire.
During this time V also kills top members of the political party and with the discovery of each new victim, he becomes an even bigger target of a very irate Sutler.
All of which culminates in a race against the clock for V to complete his plan and exact his revenge for past wrongdoings done to him which propels the film to its climatic finale.
While the film is an interesting and at times enjoyable film it is hampered in some ways by a marketing program where early trailers showed the film to be an action filled romp. The truth is there is about 15-20 minutes of action in the films nearly 2hr and 10 minute run time which allows the majority of the film to be spent on the interaction between V and Evey.
While this is interesting and does bring in elements of “Phantom” and “Beauty” as I mentioned earlier, it is at the sacrifice of what I think are important factors. For example we learn a bit about why V is on his vendetta but serious questions from that are not answered. We do not learn the full what, where and why, on his situation. I am trying hard to avoid spoilers here so suffice it to say there are some very important questions about what was done to him, how he survived and so on that need to be answered but are not.
The action sequences though few and far between are well staged and Weaving and Portman have a great chemistry with one another and do make interesting and compelling characters.
The main strength of the film is the message that people need to be aware of what is going on around them and not be so willing to accept everything they are told at face value. There is a real sense of counter-culture with the film as the prevalent theme of question and if needed defy authority permeates the film.
The script written by the Wachowski brothers of The Matrix trilogy fame has chosen to tone down the gimmicky of bullet time effects and instead focus on a character driven drama with a message and it is one that resounds loudly and clearly.
The masked figure quickly dispatches the assailants and offers to escort Evey to safety. Despite being scared, Evey does accompany the figure to a rooftop where she is treated to a spectacular explosion set to music.
Thus begins V for Vendetta a film that mixes “The Phantom of the Opera” “Beauty and the Beast” and ?” to create a gothic love story and biting social commentary about the dangers of governmental control and censorship in a society gone awry.
In London of the near future, it is learned that a series of terrorist attacks have left thousands dead which resulted in stricter governmental controls and intrusions into privacy and lifestyles. Those who did not conform nor meet expectations often vanished never to be heard from again. Such was the case of Evey’s parents who decided to protest governmental policies and soon found themselves beaten and whisked away in the night.
Behind all of the oppression is a man named Adam Sutler (John Hurt), a monomaniacal leader who rules with an iron fist and an extreme agenda that he has manipulated to make himself and unopposed ruler of the nation.
While most of the population lives in fear of Sutler and his men, there is one who does not, a mysterious masked figure named V (Hugo Weaving), who dons a Guy Fawkes mask in tribute to the man who centuries ago attempted to destroy Parliament. When V is able to temporarily gain control of the television network for the government, he is able to broadcast his message to the people that the time has come to take back their lives and society and stop living in fear. Towards this end, V pledges to the masses that he will destroy Parliament in 1 year and that the people should gather to watch the destruction unfold.
This bold proclamation causes Sutler to stop at nothing to capture V and he tasks his Chief Inspector Finch (Stephen Rea), to locate V. Since Evey worked at the television station and was observed helping V on a security monitor, Finch decides to locate Evey and force her to reveal the locale of the mysterious vigilante.
This task proves difficult as V has taken Evey into his protection and forces her to live in his luxurious yet secluded home in order to avoid the police forces.
It is during this time that Evey learns that V is a study in contrast. On one hand he is a very sophisticated person with a taste for the arts, culture, and a desire to see people free to live their lives as they desire.
During this time V also kills top members of the political party and with the discovery of each new victim, he becomes an even bigger target of a very irate Sutler.
All of which culminates in a race against the clock for V to complete his plan and exact his revenge for past wrongdoings done to him which propels the film to its climatic finale.
While the film is an interesting and at times enjoyable film it is hampered in some ways by a marketing program where early trailers showed the film to be an action filled romp. The truth is there is about 15-20 minutes of action in the films nearly 2hr and 10 minute run time which allows the majority of the film to be spent on the interaction between V and Evey.
While this is interesting and does bring in elements of “Phantom” and “Beauty” as I mentioned earlier, it is at the sacrifice of what I think are important factors. For example we learn a bit about why V is on his vendetta but serious questions from that are not answered. We do not learn the full what, where and why, on his situation. I am trying hard to avoid spoilers here so suffice it to say there are some very important questions about what was done to him, how he survived and so on that need to be answered but are not.
The action sequences though few and far between are well staged and Weaving and Portman have a great chemistry with one another and do make interesting and compelling characters.
The main strength of the film is the message that people need to be aware of what is going on around them and not be so willing to accept everything they are told at face value. There is a real sense of counter-culture with the film as the prevalent theme of question and if needed defy authority permeates the film.
The script written by the Wachowski brothers of The Matrix trilogy fame has chosen to tone down the gimmicky of bullet time effects and instead focus on a character driven drama with a message and it is one that resounds loudly and clearly.
Chris Sawin (602 KP) rated The Collector (2009) in Movies
Jun 22, 2019
Arkin wants to smooth over the rough patch his family is currently going through. He seems like a hard working man that's trying to make a living by doing some housework for a family who lives out in the country. It turns out that Arkin has more problems than he lets on though. His wife, Lisa, has quite a pile of debt resting on her shoulders and the loan sharks want their share that very night. Knowing his paycheck isn't enough to pay for their debt, Arkin assures Lisa that he'll have the money by midnight. Arkin is actually a thief who has been scoping out his employer's property the entire time he's been working for him. With the family away on vacation, the safe behind the mirror in the couple's bedroom is ripe for the taking. Unbeknownst to Arkin, however, is that the family never left and somebody else beat him to the punch. A man who's known as The Collector has already broken into the house Arkin had his eye on. After a quick investigation, Arkin notices the traps The Collector has set up in nearly every room and by every exit. As Arkin weighs his options, he realizes he must try to help the family he originally intended to steal from in a race against time.
The Collector is a film that is somewhat hurt by its own hype. It's written by Patrick Melton and Marcus Dunstan (who also directs), the writing team who penned the last three Saw films (including part VI). News broke right before its release that the film was almost a prequel to Saw. In the horror community, being a part of the Saw franchise is a rather large achievement. Even if you're not a fan of the franchise, it's hard to deny how well the Saw films do at the box office as their gross revenue is sometimes up to ten times what the film's budget was. The down side is that The Collector seems to make this point blatantly obvious. The film gives off a sense of deja vu throughout its entire duration. The Collector's traps are very reminiscent of Jigsaw's traps, at least in the way they're set up (reverse bear trap in Saw compared to the bear trap scene in The Collector). The Collector also looks and feels like a Saw film. The quick edits that a lot of people expressed their dislike for in Saw are used more often than not in The Collector. Grainy and high contrast filters along with those quick edits make it a bit hard to distinguish what events are actually occurring on screen at times. The first ten minutes or so of the film feel like an extended music video. These qualities don't necessarily make the film bad, but a film that's advertised as being original shouldn't have so much in common with a well distinguished franchise in the same genre; let alone when some of the same people are involved. Something that may have been easily averted if the marketing campaign didn't throw that fact in the public's face.
With all that being said, the film still has enough originality going for it to bring in horror fans. While the film does have its flaws (the main one being, how'd The Collector have time to set up all these traps?), they actually don't take away from the overall enjoyment for the film. What The Collector collects is rather interesting and even with its similarities to Saw, it's an original horror film that isn't a remake. Something we don't see a lot of anymore. What also might make or break the deal for horror fans seeing this film is that it doesn't shy away from blood and guts. The bear trap sequence alone is rather gruesome, but you do get to see some intestines make a cameo. So this definitely isn't for the squeamish. The film did leave a few open-ended questions, but they don't seem to be negative. The most memorable one is more of a sense of wondering why a certain character did a certain act rather than it being a glaring mistake. If this gets turned into a franchise (which depending on its reception, it just might), we'll probably get answers in the sequel(s). The Collector also seemed to establish a bit of tension at times, while the closing moments of the film were similar to a seesaw. The events that unfold seem to be going in one direction, but then quickly shift and go in another direction.
TV spots are saying things like, "Horror has a new icon," and that The Collector is the best horror film to come out in years. While the latter could be debated, the first part of that statement could very well be true. I, personally, wouldn't mind seeing more of The Collector as I like the idea and the character. The film as a whole, however, may have let its influences shine brighter than its original aspects. In retrospect, The Collector is an entertaining horror film composed of a decent antagonist, standard acting, an original storyline, and a few buckets of gore.
The Collector is a film that is somewhat hurt by its own hype. It's written by Patrick Melton and Marcus Dunstan (who also directs), the writing team who penned the last three Saw films (including part VI). News broke right before its release that the film was almost a prequel to Saw. In the horror community, being a part of the Saw franchise is a rather large achievement. Even if you're not a fan of the franchise, it's hard to deny how well the Saw films do at the box office as their gross revenue is sometimes up to ten times what the film's budget was. The down side is that The Collector seems to make this point blatantly obvious. The film gives off a sense of deja vu throughout its entire duration. The Collector's traps are very reminiscent of Jigsaw's traps, at least in the way they're set up (reverse bear trap in Saw compared to the bear trap scene in The Collector). The Collector also looks and feels like a Saw film. The quick edits that a lot of people expressed their dislike for in Saw are used more often than not in The Collector. Grainy and high contrast filters along with those quick edits make it a bit hard to distinguish what events are actually occurring on screen at times. The first ten minutes or so of the film feel like an extended music video. These qualities don't necessarily make the film bad, but a film that's advertised as being original shouldn't have so much in common with a well distinguished franchise in the same genre; let alone when some of the same people are involved. Something that may have been easily averted if the marketing campaign didn't throw that fact in the public's face.
With all that being said, the film still has enough originality going for it to bring in horror fans. While the film does have its flaws (the main one being, how'd The Collector have time to set up all these traps?), they actually don't take away from the overall enjoyment for the film. What The Collector collects is rather interesting and even with its similarities to Saw, it's an original horror film that isn't a remake. Something we don't see a lot of anymore. What also might make or break the deal for horror fans seeing this film is that it doesn't shy away from blood and guts. The bear trap sequence alone is rather gruesome, but you do get to see some intestines make a cameo. So this definitely isn't for the squeamish. The film did leave a few open-ended questions, but they don't seem to be negative. The most memorable one is more of a sense of wondering why a certain character did a certain act rather than it being a glaring mistake. If this gets turned into a franchise (which depending on its reception, it just might), we'll probably get answers in the sequel(s). The Collector also seemed to establish a bit of tension at times, while the closing moments of the film were similar to a seesaw. The events that unfold seem to be going in one direction, but then quickly shift and go in another direction.
TV spots are saying things like, "Horror has a new icon," and that The Collector is the best horror film to come out in years. While the latter could be debated, the first part of that statement could very well be true. I, personally, wouldn't mind seeing more of The Collector as I like the idea and the character. The film as a whole, however, may have let its influences shine brighter than its original aspects. In retrospect, The Collector is an entertaining horror film composed of a decent antagonist, standard acting, an original storyline, and a few buckets of gore.
Bob Mann (459 KP) rated Ford v Ferrari (aka Le Mans '66) (2019) in Movies
Nov 20, 2019
Damon, Bale and fast cars (1 more)
Epic technical film making - cinematography, editing and sound - Oscar bait
A linear story on a circular track - but beautifully done.
Despite the love affair cinema has had with cars over the years, the sport of motor racing on film has been patchy. Too often the drama on the track has been deluged with melodrama off the track, as in John Frankenheimer's "Grand Prix" from 1966. While recent efforts such as Ron Howard's "Rush" have brought modern filming techniques to better convey the speed and excitement, it is Steve McQueen's "Le Mans" from 1971 that had previously set the bar for realism in the sport. But even there, there were a few off-track love stories to interweave into the action.
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
I wouldn't hesitate to suggest that "Le Mans '66" is a strong contender for the motor racing high-water mark.
The film was marketed as "Ford v Ferrari" in the US. (What... do the American distributors think their film-goers are so stupid that if "Le" is in the title they will think it sub-titled foreign language??). But it's a valid title, since the movie tells the true story of when Henry Ford... the second... (Tracy Letts) throws his toys out of the pram at Ford's faltering progress. ("James Bond does not drive a Ford". "That's because he's a degenerate!" snaps back Ford, which kind of typifies the problem"). Marketing man Lee Iacocca (Jon Bernthal) persuades retired hot-shot racer Carroll Shelby (Matt Damon) to take Ford's blank-cheque to build a car to win the Le Mans 24 hour race.
Shelby enlists maverick Brit racer Ken Miles (Christian Bale) to help design and drive the next-generation machine. But neither had banked on the interference of the hoards of Ford suits, led by VP Leo Beebe (Josh Lucas). An explosion is imminent! And its not just from the over-heated brake pads!
What's really odd about this film is how linear the story is. While we get to see the family life of Miles (to add necessary context to what follows) these are merely minor diversions. There are no sub-plots or flashback scenes. It just relates the history from beginning to end, enlivened by some of the best and most exciting motor-racing footage put to celluloid.
At a bladder-testing 152 minutes, this really shouldn't have worked. I should have got bored and restless. But I really didn't.
In many ways - bladders aside - I think this will appeal in particular to an older breed of movie-goer. It's a 100% 'sit back in your seat and enjoy' cinema treat.
This is the first film Matt Damon and Christian Bale have made together, and I understand that Damon specifically signed on since he wanted to work with Bale. And there is palpable chemistry there. The movie includes one of the best 'bad-fights' since Colin Firth and Hugh Grant locked horns in the Bridget Jones films. And Damon - never one of the most expressive actors in the world - here really shines.
Bale also appears to be having a whale of a time. Not having to adopt a US accent suits him, as he blasts and swears his way through various UK-specific expletives that probably passed the US-censors by! He often tends to play characters in movies that are difficult to warm to, but here - although suitably spiky and irascible - the family man really shines through and you feel a real warmth for the guy.
There's a strong supporting cast behind the leads, with Tracy Letts' fast-driving breakdown being a standout moment. I wonder how many takes they needed on that for Damon to keep a semi-straight face?! Also impressive as the son Peter Miles is Noah Jupe. If you're wondering where the hell you've seen him before, he was young (Marcus in "A Quiet Place").
Where the film comes alive is on the track, and a particular shout out should to to the technical teams. Cinematography is by Phedon Papamichael ("Walk the Line"), film editing is led by Andrew Buckland and Michael McCusker. And sound mixing - which to my ear was piston-valve perfect - is by Steven Morrow. Also worthy of note is a kick-ass driving soundtrack by Marco Beltrami that genuinely excited. These categories are fearsomly hard to predict in awards season, but you might like to listen out for those names.
If I was going to pick at any faults in the film, it would be that Ford exec Leo Beebe is painted a little too much as a "boo-hiss" pantomime villain in the piece. It could have been perhaps toned down 20% or so.
James Mangold ("Logan"; "Walk the Line") directs in style. From the rather po-faced trailer, you might think this is a "car movie that's not for me". But it really is a tremendously fun movie, with some genuinely laugh-out-loud moments mixed in with edge-of-your-seat action and some heart-rending moments.
Above all, this is a film that really benefits from the wide-screen and sound-system that only a big cinema can provide. As such this goes on my "get out and see it" list without any hesitation! It's going to make my movies of the year: and I'm off to see it again on Saturday!
Read the full review here - https://bob-the-movie-man.com/2019/11/20/one-manns-movies-film-review-le-mans-66-2019/
Purple Phoenix Games (2266 KP) rated Dodos Riding Dinos in Tabletop Games
Apr 7, 2020
Ahh dinosaurs. One of my favorite themes! What’s this? Dodos on top of dinosaurs? And they seem to be running away from something? Well now I’m just intrigued. Oh, they’re running from THE meteor and you are trying to sabotage your opponents so they get destroyed first, and this is a race to see who is destroyed last? Ok I’m in.
Dodos Riding Dinos is a hand management, dexterity, racing card game where if while you are playing it you don’t feel like you have portaled into a prehistoric Mario Kart board game, you have missed the point.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I know the final components will be a little different from these shown (upgrades!). Also, it is not my intention to detail every rule in the game. You are invited to download the rulebook, back the game through the Kickstarter campaign beginning April 28, 2020, purchase it from your FLGS, or through any retailers stocking it after fulfillment. -T
To setup, lay out the board in the middle of the table. Randomly deal each player a Dodo/Dino team card, give them the corresponding team player dodineeple, and deal each six cards. Place the meteoreeple, eggeeple, and bananeeple (jeepers) within reach. Determine the starting player order, placing the dodineeples on the corresponding hexes behind the starting line. The game can now begin!
Dodos Riding Dinos is played over a series of rounds until one player has either surpassed the finish line or is the furthest past the finish line at the end of the round. To accomplish this, Dinos will be moved using the cards dealt at the beginning of the game and that are drawn from the deck during play. There are three colors (types) of cards: blue (normal), red (aggressive), and green (fast). During a round, players will choose a red or blue card to be played. Once all have chosen, the cards are revealed simultaneously. Whomever has the active player marker will resolve their card first, moving their dino the number shown on the top of the card and resolving any special abilities on the bottom of the card. The round will continue this way around the table until every player has resolved their card.
That is, unless two or more players have revealed red cards during the round. When this happens, these dinos are enraged and can only move, canceling out any special abilities printed on the bottom of the cards. If a red card gets through, however, get ready for the crux of the game.
Usually these cards are those that introduce the dexterity element of the game. If a card mentions throwing a banana “with a damage of 2,” then the player will grab the bananeeple, anchor their elbow to the table, and try to throw the banana onto their opponents with a wrist flick. Those that are hit will take 2 damage, where damage is discarding cards from their hand. Should a player enact a card involving throwing the eggeeple, the player will move their piece aside, place the egg there, and flick the egg to the opponents without the assistance of thumb resistance. And finally, the meteor. To unleash the meteor’s fury, the player will hold the meteoreeple in their fist, hold their arm parallel to the game board at least 1ft above the surface, and drop the meteoreeple onto unsuspecting foes causing massive damage.
Play continues in this fashion until only one player has crossed the finish line at the end of a round or the winner is the player who is furthest past the finish line when the round is over.
Components. Again, this is a prototype that was sent to us so I cannot rightfully comment on the quality of components, but I can on the art style and direction. So I really love the presentation of the components. The game is colorful, and the art is cartoony and super-quirky, a style of which I am always a fan. I’m excited to see how these components will be upgraded as a result of a successful Kickstarter campaign, but even as is, the game is gorgeous and the components are fun to handle.
It is probably no surprise that I love this one. It is super simple to learn, gives the players tons of choices per round, and perfecting the meteor drop or egg flick is going to take lots of plays, so that’s a big winner for me. I was telling the publisher that even though the box recommends ages 8+ to play, we were able to fashion some house rules to allow our 3 year old to play and have fun with it. Simply play open-handed, with no special dino abilities, and give them endless mulligans. Works for us, but the original rules are even better for adults.
So if you are a fan of games where dinosaurs are involved, or dodos, or animals riding other animals, or dexterity games, then definitely check out Dodos Riding Dinos on Kickstarter. I think that I will be backing the deluxe version because I’m a sucker for KS upgrades and content. It’s a great game as long as you don’t take yourself too seriously and just have a great time flicking eggs and meatball meeples at each other.
Dodos Riding Dinos is a hand management, dexterity, racing card game where if while you are playing it you don’t feel like you have portaled into a prehistoric Mario Kart board game, you have missed the point.
DISCLAIMER: We were provided a prototype copy of this game for the purposes of this review. These are preview copy components, and I know the final components will be a little different from these shown (upgrades!). Also, it is not my intention to detail every rule in the game. You are invited to download the rulebook, back the game through the Kickstarter campaign beginning April 28, 2020, purchase it from your FLGS, or through any retailers stocking it after fulfillment. -T
To setup, lay out the board in the middle of the table. Randomly deal each player a Dodo/Dino team card, give them the corresponding team player dodineeple, and deal each six cards. Place the meteoreeple, eggeeple, and bananeeple (jeepers) within reach. Determine the starting player order, placing the dodineeples on the corresponding hexes behind the starting line. The game can now begin!
Dodos Riding Dinos is played over a series of rounds until one player has either surpassed the finish line or is the furthest past the finish line at the end of the round. To accomplish this, Dinos will be moved using the cards dealt at the beginning of the game and that are drawn from the deck during play. There are three colors (types) of cards: blue (normal), red (aggressive), and green (fast). During a round, players will choose a red or blue card to be played. Once all have chosen, the cards are revealed simultaneously. Whomever has the active player marker will resolve their card first, moving their dino the number shown on the top of the card and resolving any special abilities on the bottom of the card. The round will continue this way around the table until every player has resolved their card.
That is, unless two or more players have revealed red cards during the round. When this happens, these dinos are enraged and can only move, canceling out any special abilities printed on the bottom of the cards. If a red card gets through, however, get ready for the crux of the game.
Usually these cards are those that introduce the dexterity element of the game. If a card mentions throwing a banana “with a damage of 2,” then the player will grab the bananeeple, anchor their elbow to the table, and try to throw the banana onto their opponents with a wrist flick. Those that are hit will take 2 damage, where damage is discarding cards from their hand. Should a player enact a card involving throwing the eggeeple, the player will move their piece aside, place the egg there, and flick the egg to the opponents without the assistance of thumb resistance. And finally, the meteor. To unleash the meteor’s fury, the player will hold the meteoreeple in their fist, hold their arm parallel to the game board at least 1ft above the surface, and drop the meteoreeple onto unsuspecting foes causing massive damage.
Play continues in this fashion until only one player has crossed the finish line at the end of a round or the winner is the player who is furthest past the finish line when the round is over.
Components. Again, this is a prototype that was sent to us so I cannot rightfully comment on the quality of components, but I can on the art style and direction. So I really love the presentation of the components. The game is colorful, and the art is cartoony and super-quirky, a style of which I am always a fan. I’m excited to see how these components will be upgraded as a result of a successful Kickstarter campaign, but even as is, the game is gorgeous and the components are fun to handle.
It is probably no surprise that I love this one. It is super simple to learn, gives the players tons of choices per round, and perfecting the meteor drop or egg flick is going to take lots of plays, so that’s a big winner for me. I was telling the publisher that even though the box recommends ages 8+ to play, we were able to fashion some house rules to allow our 3 year old to play and have fun with it. Simply play open-handed, with no special dino abilities, and give them endless mulligans. Works for us, but the original rules are even better for adults.
So if you are a fan of games where dinosaurs are involved, or dodos, or animals riding other animals, or dexterity games, then definitely check out Dodos Riding Dinos on Kickstarter. I think that I will be backing the deluxe version because I’m a sucker for KS upgrades and content. It’s a great game as long as you don’t take yourself too seriously and just have a great time flicking eggs and meatball meeples at each other.
Chris Sawin (602 KP) rated Fast & Furious Presents: Hobbs & Shaw (2019) in Movies
Aug 6, 2019
Before you read this review of Fast & Furious Presents: Hobbs & Shaw, I just want you to know that I can’t stand this franchise. I gave up keeping up with them after Furious 7 and felt like the Fast & Furious franchise peaked/was tolerable around Fast Five and never really went anywhere worthwhile before or since. I have not seen all the films and really only seemed to watch every other entry, but whether you’re in a heist or a drag race that lethal dose of masculinity being projectile vomited all over you by an entire cast (women included) for two hours straight is dull and tiresome. In fact, just call this franchise “Dull & Tiresome” from here on out and I doubt anyone would notice. It’s even got “tire” in there for car…stuff.
Ignoring the fact that screenwriters Chris Morgan (writer of every Fast and Furious entry since Tokyo Drift) and Drew Pearce (writer and director of the flop known as Hotel Artemis) were involved, I actually like David Leitch’s work (co-director of John Wick, director of Deadpool 2 and Atomic Blonde) even if he is probably going to screw up that Enter the Dragon remake. The trailers also made Hobbs & Shaw look like the stupid kind of action film I might enjoy; a bunch of fight scenes and chase sequences that give the middle finger to physics. But when a big moment in the film is a group of the good guys willingly bringing a bunch of sharp sticks to a battle where the villains are loaded to the teeth with highly advanced firearms, then you know you’ve jumped headfirst into the deep end of ridiculous without a special needs helmet.
The film is quick to point out that even though Luke Hobbs (Dwayne Johnson) is in Los Angeles and Deckard Shaw (Jason Statham) is in London, they’re essentially similar characters. Hobbs is a big dude who likes to Hulk smash everything while Shaw likes to think he has more class and finesse to his ass beatings and exaggerated torture devices. Despite their different cultures and supposedly unique way of approaching their work, they do nothing but talk trash, jack things up, simultaneously kick unsuspecting guys in the balls, and track stuff that needs tracking because that’s what trackers do. They reluctantly join forces and are in constant competition with one another to find some CT17 virus, which is currently inside Shaw’s MI6 operative sister Hattie Shaw (Vanessa Kirby) and is being hunted by formerly dead, cyber genetically altered, and current superhuman criminal mastermind Brixton Lore (Idris Elba). Don’t get too attached to the whole virus thing since even the film can’t keep up with what the hell it’s supposed to be.
The highlight of Hobbs & Shaw is the amount of cameos it’s able to squeeze into its excruciating two-hour-and-fifteen-minute runtime. The film utilizes about a third of the cast of a certain sequel to a certain film starring a certain Regenerating Degenerate and that cast is responsible for the humor that works best in whatever this spinoff is supposed to accomplish. Idris Elba is unbelievably cool as Brixton Lore. He’s this cocky and unstoppable bad ass who has a history with Shaw and his car chase on his self-driving motorcycle where he slides under a bus in slow motion is too sick for words. Vanessa Kirby has this on-screen presence that outshines the consistent bickering between Hobbs and Shaw. She’s the one capable female character in the film (Helen Mirren sitting behind glass doesn’t count) who seems to be the only one thinking logically, but it took her doing the dumbest thing imaginable at the beginning of the film to get that way.
This action film smorgasbord rides on the chemistry between Dwayne Johnson and Jason Statham, but that gets old as soon as they start sort-of working together. Their incessant ribbing of each other, desire to always outdo one another, and nonstop unfiltered machismo being this palpable elephant in the room leads to nothing but verbal dick size comparisons and leaves you thinking that maybe they’ll make out or grope each other by the end of the film. Spoiler alert: maybe they’re saving that for the sequel.
There isn’t enough of a differentiation between action sequences in Hobbs & Shaw to make it feel worthwhile. There’s chemistry between the cast that is undeniable and some of its outrageousness is entertaining, but it all begins to feel similar and falls apart far sooner than it should. For those who care, there is a mid-credits and after-credits scene but neither is surprising. The cheesy motivational speeches, forced heartfelt stories, and, “all technology in the world doesn’t beat heart,” mumbo jumbo doesn’t help matters. The supposed story for this film is basically a dunce cap disguised as a pocket protector. There are intelligent elements used in ludicrous ways and maybe that’s what could describe the Fast & Furious franchise as a whole. You can bury a diamond in a dog turd and say it’s extravagant and that it’s valuable, but it’s still a dog turd that smells awful and lingers long after it’s been flushed away.
Ignoring the fact that screenwriters Chris Morgan (writer of every Fast and Furious entry since Tokyo Drift) and Drew Pearce (writer and director of the flop known as Hotel Artemis) were involved, I actually like David Leitch’s work (co-director of John Wick, director of Deadpool 2 and Atomic Blonde) even if he is probably going to screw up that Enter the Dragon remake. The trailers also made Hobbs & Shaw look like the stupid kind of action film I might enjoy; a bunch of fight scenes and chase sequences that give the middle finger to physics. But when a big moment in the film is a group of the good guys willingly bringing a bunch of sharp sticks to a battle where the villains are loaded to the teeth with highly advanced firearms, then you know you’ve jumped headfirst into the deep end of ridiculous without a special needs helmet.
The film is quick to point out that even though Luke Hobbs (Dwayne Johnson) is in Los Angeles and Deckard Shaw (Jason Statham) is in London, they’re essentially similar characters. Hobbs is a big dude who likes to Hulk smash everything while Shaw likes to think he has more class and finesse to his ass beatings and exaggerated torture devices. Despite their different cultures and supposedly unique way of approaching their work, they do nothing but talk trash, jack things up, simultaneously kick unsuspecting guys in the balls, and track stuff that needs tracking because that’s what trackers do. They reluctantly join forces and are in constant competition with one another to find some CT17 virus, which is currently inside Shaw’s MI6 operative sister Hattie Shaw (Vanessa Kirby) and is being hunted by formerly dead, cyber genetically altered, and current superhuman criminal mastermind Brixton Lore (Idris Elba). Don’t get too attached to the whole virus thing since even the film can’t keep up with what the hell it’s supposed to be.
The highlight of Hobbs & Shaw is the amount of cameos it’s able to squeeze into its excruciating two-hour-and-fifteen-minute runtime. The film utilizes about a third of the cast of a certain sequel to a certain film starring a certain Regenerating Degenerate and that cast is responsible for the humor that works best in whatever this spinoff is supposed to accomplish. Idris Elba is unbelievably cool as Brixton Lore. He’s this cocky and unstoppable bad ass who has a history with Shaw and his car chase on his self-driving motorcycle where he slides under a bus in slow motion is too sick for words. Vanessa Kirby has this on-screen presence that outshines the consistent bickering between Hobbs and Shaw. She’s the one capable female character in the film (Helen Mirren sitting behind glass doesn’t count) who seems to be the only one thinking logically, but it took her doing the dumbest thing imaginable at the beginning of the film to get that way.
This action film smorgasbord rides on the chemistry between Dwayne Johnson and Jason Statham, but that gets old as soon as they start sort-of working together. Their incessant ribbing of each other, desire to always outdo one another, and nonstop unfiltered machismo being this palpable elephant in the room leads to nothing but verbal dick size comparisons and leaves you thinking that maybe they’ll make out or grope each other by the end of the film. Spoiler alert: maybe they’re saving that for the sequel.
There isn’t enough of a differentiation between action sequences in Hobbs & Shaw to make it feel worthwhile. There’s chemistry between the cast that is undeniable and some of its outrageousness is entertaining, but it all begins to feel similar and falls apart far sooner than it should. For those who care, there is a mid-credits and after-credits scene but neither is surprising. The cheesy motivational speeches, forced heartfelt stories, and, “all technology in the world doesn’t beat heart,” mumbo jumbo doesn’t help matters. The supposed story for this film is basically a dunce cap disguised as a pocket protector. There are intelligent elements used in ludicrous ways and maybe that’s what could describe the Fast & Furious franchise as a whole. You can bury a diamond in a dog turd and say it’s extravagant and that it’s valuable, but it’s still a dog turd that smells awful and lingers long after it’s been flushed away.
Gareth von Kallenbach (968 KP) rated End of Watch (2012) in Movies
Aug 7, 2019
Director/Writer David Ayer (Street Kings, Training day) once again takes us into the world of the Los Angeles police department in the new movie End of Watch. Only this time rather than go in the corrupt police officer direction he has gone before, Ayer instead takes audiences on a honest and somewhat realistic emotionally charged ride along with two young and confident LAPD patrolmen.
While the story in this film is as simple as two cops over reaching their pay grades causing them to get on a drug cartels hit list. The film is more like an unrated extended episode of the TV series Cops, focusing on the everyday encounters of our heroes as they patrol south central LA. These encounters range from calls for lost children, domestic disturbance, and noise violations, albeit a bit exaggerated in these and several other incidents. Still the various types of encounters cause the film to feel like a true ride along into the lives of these LAPD cops. Additionally the use of the handheld “found footage” film style works surprisingly well at giving the movie that TV episodic style that makes the overall experience feel realistic. That being said, there are a few scenes where it is not clear who is holding the camera or where the shot is coming from, however these scenes are barely noticeable because of the excellent performances by our protagonists that keeps our interest on what they are saying and doing on screen rather than who is holding the camera.
Officer Bryan Taylor (Jake Gyllenhaal, Source Code) is our main protagonist of this movie. The ex-marine turned cop has to take an art elective in his pre-law studies and decides to take a documentary film class and take us on the inside of the LAPD. Gyllenhaal ‘s performance embodies Taylor as the good natured ambitious officer wanting more in his life of relationships and career. It would be easy for this character to be the traditional good cop in movies like this however given the found footage film style we instead find that Taylor, while good, can also be a complete “jerk” cop who is quick to anger and use brutish force when he deems necessary. This only helps solidify the rawness and reality of this film which pays a nod to the difficult nature of this job for real life police officers. Gyllenhaal gives yet another outstanding performance in his career causing us to grow attached to his character and respect him.
In addition Michel Pena (Crash) delivers a fantastic performance as Taylor’s partner and best friend Officer Mike Zavala. Pena embodies the other side to Gyllenhaal’s “jerk” cop by with his own good natured, simple man who is quick to become a bull when pushed. No more is this better shown in a scene where Zavala and a gang member get into a war of words and caused Zavala to drop his gun and badge and fight man to man to settle their dispute in the “street” way. Thus earning respect from that particular gang member.
Together Gyllenhaal and Pena share the screen wonderfully. Their relationship seems effortless and natural as if they were actually partners and best friends. You can tell they are having fun on set working together and it shows in their performance together as they really get a sense that they are more than partners and friends but are in fact, brothers. Their relationship and characters are only developed further as we watch Taylor pursue a deeper intellectual relationship with scientist Janet (Anna Kendrick, Up In The Air) and Zavala through the birth of his first born from wife Gabby (Natalie Martinez, Death Race). Kendrick and Martinez give believable performances as love interests to our heroes that show us a more human and softer side of these testosterone filled officers who will do whatever it takes to uphold the law. Throw in a strong supporting cast of other police officers led by Frank Grillo (Warrior) who plays the LAPD’s sergeant and you have a performance where we not only care about our heroes but we see the brotherhood of the police force in general.
One thing that I was not expecting from the film is the amount of moments where the audience literally laughed out loud. That is not to say that this is a comedy, in fact it is far from it. But the quick witted jokes and verbal jabs by our onscreen partners help alleviate some of the heavy emotional scenes of the movie. I felt that these characters used that good natured humor to keep themselves from going off of the deep end in handling all of the gruesome encounters they witness. These well placed laughs helped the audience deal with these gruesome scenes as well and helped strengthen our bond with these brothers.
All in all, this movie is a buddy cop film on steroids. While there is not much of a traditional story arch, this helps develop the realistic feel more like an unrated extended episode of Cops. That being said Gyllenhaal and Pena deliver a fantastic performance together. They have a real connection that makes you believe they have been partners for years and consider each other brothers. Add in a solid ensemble cast and the overall experience is worth the price of admission. However those who grow motion sick from found footage films may want to stay clear as there is a definite lack of steady cam
While the story in this film is as simple as two cops over reaching their pay grades causing them to get on a drug cartels hit list. The film is more like an unrated extended episode of the TV series Cops, focusing on the everyday encounters of our heroes as they patrol south central LA. These encounters range from calls for lost children, domestic disturbance, and noise violations, albeit a bit exaggerated in these and several other incidents. Still the various types of encounters cause the film to feel like a true ride along into the lives of these LAPD cops. Additionally the use of the handheld “found footage” film style works surprisingly well at giving the movie that TV episodic style that makes the overall experience feel realistic. That being said, there are a few scenes where it is not clear who is holding the camera or where the shot is coming from, however these scenes are barely noticeable because of the excellent performances by our protagonists that keeps our interest on what they are saying and doing on screen rather than who is holding the camera.
Officer Bryan Taylor (Jake Gyllenhaal, Source Code) is our main protagonist of this movie. The ex-marine turned cop has to take an art elective in his pre-law studies and decides to take a documentary film class and take us on the inside of the LAPD. Gyllenhaal ‘s performance embodies Taylor as the good natured ambitious officer wanting more in his life of relationships and career. It would be easy for this character to be the traditional good cop in movies like this however given the found footage film style we instead find that Taylor, while good, can also be a complete “jerk” cop who is quick to anger and use brutish force when he deems necessary. This only helps solidify the rawness and reality of this film which pays a nod to the difficult nature of this job for real life police officers. Gyllenhaal gives yet another outstanding performance in his career causing us to grow attached to his character and respect him.
In addition Michel Pena (Crash) delivers a fantastic performance as Taylor’s partner and best friend Officer Mike Zavala. Pena embodies the other side to Gyllenhaal’s “jerk” cop by with his own good natured, simple man who is quick to become a bull when pushed. No more is this better shown in a scene where Zavala and a gang member get into a war of words and caused Zavala to drop his gun and badge and fight man to man to settle their dispute in the “street” way. Thus earning respect from that particular gang member.
Together Gyllenhaal and Pena share the screen wonderfully. Their relationship seems effortless and natural as if they were actually partners and best friends. You can tell they are having fun on set working together and it shows in their performance together as they really get a sense that they are more than partners and friends but are in fact, brothers. Their relationship and characters are only developed further as we watch Taylor pursue a deeper intellectual relationship with scientist Janet (Anna Kendrick, Up In The Air) and Zavala through the birth of his first born from wife Gabby (Natalie Martinez, Death Race). Kendrick and Martinez give believable performances as love interests to our heroes that show us a more human and softer side of these testosterone filled officers who will do whatever it takes to uphold the law. Throw in a strong supporting cast of other police officers led by Frank Grillo (Warrior) who plays the LAPD’s sergeant and you have a performance where we not only care about our heroes but we see the brotherhood of the police force in general.
One thing that I was not expecting from the film is the amount of moments where the audience literally laughed out loud. That is not to say that this is a comedy, in fact it is far from it. But the quick witted jokes and verbal jabs by our onscreen partners help alleviate some of the heavy emotional scenes of the movie. I felt that these characters used that good natured humor to keep themselves from going off of the deep end in handling all of the gruesome encounters they witness. These well placed laughs helped the audience deal with these gruesome scenes as well and helped strengthen our bond with these brothers.
All in all, this movie is a buddy cop film on steroids. While there is not much of a traditional story arch, this helps develop the realistic feel more like an unrated extended episode of Cops. That being said Gyllenhaal and Pena deliver a fantastic performance together. They have a real connection that makes you believe they have been partners for years and consider each other brothers. Add in a solid ensemble cast and the overall experience is worth the price of admission. However those who grow motion sick from found footage films may want to stay clear as there is a definite lack of steady cam
Gareth von Kallenbach (968 KP) rated The Girl with the Dragon Tattoo (2011) in Movies
Aug 7, 2019
Following the very successful adaptation of Stieg Larssons millennium trilogy into three very successful Swedish language films, it came as no surprise when Hollywood announced that it would be making an English-language version of the series. Director David Fincher was announced to craft the first book in the series, The Girl with the Dragon Tattoo. The new version follows very close to the original material with one fairly big exception which I will detail later in the review.
Daniel Craig stars as Mikael Blomkvist, who at the opening of the film has recently lost a court case for which he was being sued for libel by a prominent business figure. His career is in ruins and virtually all of his savings gone as a result of the trial and punitive damages. So when he is contacted by an attorney representing the wealthy and powerful Vanger family, he agrees to meet. Although highly reluctant to take a meeting, Mikael takes the four hour train ride north of Stockholm to a cold and remote island to meet with Henrik Vanger (Christopher Plummer). Henrik wishes Mikael to investigate the disappearance of his niece some 40 years earlier, a niece vanished under the families’ very noses and not a trace of her has been discovered since. Henrik is convinced that she has met with foul play, yet every year on his birthday, he continues to receive a gift of ornate pressed flowers in an anonymous package.
Henrik believes that the killer is haunting him by sending the gifts and that a member of his family may be to blame. Although skeptical of being able to find anything 40 years later, Mikael accepts the case and soon sets up residence in a small cabin on the island and begins his investigation by combing through police reports, conducting interviews, and examining photographs and newspaper clippings. Mikael had been warned that the other members of the Vanger family may not be too thrilled with his presence as not only is the family fractured, they all have their share of secrets.
At the same time, a very Goth punk girl named Lisabeth (Rooney Mara), is fighting her own demons. Lisabeth is an extremely gifted computer and surveillance expert who specializes in gathering background information on individuals. As such, her skills have made her in high demand with her employer. Unfortunately, Lisabeth is also a deeply antisocial person who is prone to lash out violently if provoked. Much of this stems from an extremely traumatic childhood spent in institutions which resulted in Lisabeth being placed as a ward of the state, not deemed competent to care for herself. This arrangement requires her to check in on a regular basis with a representative who, unfortunately for her, has recently suffered a stroke and places her in the care of the new guardian.
The new guardian subjects Lisabeth to horrific demands just so Lisabeth can access her money. The traumatized Lisabeth does not play victim long and in a twist of fate, is assigned by Henrik’s attorney to assist Mikael since she did the background check on him prior to Mikael being approached by Henrik for the investigation. The unlikely duo combined to form a highly efficient pair as they start to piece together the clues which indicate a brutal string of murders leading back for decades. As they work together, the relationship deepens and the reserved Lisabeth starts to come out of her shell. Tension mounts as danger surrounds them in an epic race against time to solve the case that certain members of the family do not want solved.
The film runs approximately 2 hours and 45 min and does take a little while to get started as the landscape and back story of the characters is established. The film has some very dark and brutal moments, which are hard to watch, yet were not as graphic as those in the Swedish language version. Craig and Mara work very well with one another and props to Craig for being willing to put on weight and occasionally looked disheveled to enhance his character.
Mara gives a masterful performance as the complicated Lisabeth, the anti-damsel-in-distress heroine, who subtly shows the many complicated sides to the character. Noomi Rapace first portrayed the character and has gone on to prominent success in Hollywood with a slew of upcoming high profile films. I would expect nothing less for Mara with two other sequels in this series to film. I am sure this breakout performance will not go unnoticed as it is an extremely difficult and daring role that few in Hollywood would want to tackle, much less be able to pull off as convincingly as she did.
I was extremely happy to see that the character names, settings, and situations were not changed in the new version, and it was refreshing to see the film set in Sweden and not relocated to London or New York. The biggest issue I had with the film was with the ending, which deviated from the previous versions. I will not provide spoilers, suffice it to say the resolution was a bit too tidy of a Hollywood ending and in my opinion greatly undermined one of the central characters of the film. That being said the film is a bold and dynamic vision from Fincher and is a deeply dark and disturbing story that is difficult to forget.
Daniel Craig stars as Mikael Blomkvist, who at the opening of the film has recently lost a court case for which he was being sued for libel by a prominent business figure. His career is in ruins and virtually all of his savings gone as a result of the trial and punitive damages. So when he is contacted by an attorney representing the wealthy and powerful Vanger family, he agrees to meet. Although highly reluctant to take a meeting, Mikael takes the four hour train ride north of Stockholm to a cold and remote island to meet with Henrik Vanger (Christopher Plummer). Henrik wishes Mikael to investigate the disappearance of his niece some 40 years earlier, a niece vanished under the families’ very noses and not a trace of her has been discovered since. Henrik is convinced that she has met with foul play, yet every year on his birthday, he continues to receive a gift of ornate pressed flowers in an anonymous package.
Henrik believes that the killer is haunting him by sending the gifts and that a member of his family may be to blame. Although skeptical of being able to find anything 40 years later, Mikael accepts the case and soon sets up residence in a small cabin on the island and begins his investigation by combing through police reports, conducting interviews, and examining photographs and newspaper clippings. Mikael had been warned that the other members of the Vanger family may not be too thrilled with his presence as not only is the family fractured, they all have their share of secrets.
At the same time, a very Goth punk girl named Lisabeth (Rooney Mara), is fighting her own demons. Lisabeth is an extremely gifted computer and surveillance expert who specializes in gathering background information on individuals. As such, her skills have made her in high demand with her employer. Unfortunately, Lisabeth is also a deeply antisocial person who is prone to lash out violently if provoked. Much of this stems from an extremely traumatic childhood spent in institutions which resulted in Lisabeth being placed as a ward of the state, not deemed competent to care for herself. This arrangement requires her to check in on a regular basis with a representative who, unfortunately for her, has recently suffered a stroke and places her in the care of the new guardian.
The new guardian subjects Lisabeth to horrific demands just so Lisabeth can access her money. The traumatized Lisabeth does not play victim long and in a twist of fate, is assigned by Henrik’s attorney to assist Mikael since she did the background check on him prior to Mikael being approached by Henrik for the investigation. The unlikely duo combined to form a highly efficient pair as they start to piece together the clues which indicate a brutal string of murders leading back for decades. As they work together, the relationship deepens and the reserved Lisabeth starts to come out of her shell. Tension mounts as danger surrounds them in an epic race against time to solve the case that certain members of the family do not want solved.
The film runs approximately 2 hours and 45 min and does take a little while to get started as the landscape and back story of the characters is established. The film has some very dark and brutal moments, which are hard to watch, yet were not as graphic as those in the Swedish language version. Craig and Mara work very well with one another and props to Craig for being willing to put on weight and occasionally looked disheveled to enhance his character.
Mara gives a masterful performance as the complicated Lisabeth, the anti-damsel-in-distress heroine, who subtly shows the many complicated sides to the character. Noomi Rapace first portrayed the character and has gone on to prominent success in Hollywood with a slew of upcoming high profile films. I would expect nothing less for Mara with two other sequels in this series to film. I am sure this breakout performance will not go unnoticed as it is an extremely difficult and daring role that few in Hollywood would want to tackle, much less be able to pull off as convincingly as she did.
I was extremely happy to see that the character names, settings, and situations were not changed in the new version, and it was refreshing to see the film set in Sweden and not relocated to London or New York. The biggest issue I had with the film was with the ending, which deviated from the previous versions. I will not provide spoilers, suffice it to say the resolution was a bit too tidy of a Hollywood ending and in my opinion greatly undermined one of the central characters of the film. That being said the film is a bold and dynamic vision from Fincher and is a deeply dark and disturbing story that is difficult to forget.