Search
Search results
LeftSideCut (3778 KP) rated Thor: Ragnarok (2017) in Movies
Mar 5, 2021
I've got a lot a love for the first Thor movie, but like many others, the second one is probably my least favourite of the whole franchise. So, when one of the mightiest Avengers threatens to become stale, what is the solution? Taika fucking Waititi is the solution.
One of my favourite working directors helming an MCU film is exciting indeed, and manages to deliver a film that injects new life into the Thor series, manages to fit in with other chapters of the franchise without feeling too alien, but still has liberal splashings of Waititi's trademark wit throughout.
The comedy in this entry is thick and fast, but everything lands just right. It's fair to say that it's taken a leaf out the Guardians of the Galaxy playbook, but manages to come across smoother and feel more refined in it's humour than Vol. 2.
Chris Hemsworth, Tom Hiddleston, Anthony Hopkins, Mark Ruffalo and Idris Elba are back and as good as ever with MCU newcomers Cate Blanchett, carving a memorable figure as this movies big bad Hela (who I really hope we see again at somepoint), Tessa Thompson as the badass Valkyrie, a wonderful Jeff Goldblum as secondary villain Grandmaster (another that I hope we see again), and Karl Urban as The Executioner. It's a well put together cast.
It's packed full of comic shit too, with references to Man Thing, Beta Ray Bill, and Bi Beast, a tie in appearance from Doctor Strange, the first appearance of Surtur, and Hulk rampaging through Asgard. It has relentlessly entertaining set pieces and an 80s synth style soundtrack that tops everything wonderfully.
Not much to complain about here - easily the best of the Thor trilogy and a solid entry into the wider MCU.
One of my favourite working directors helming an MCU film is exciting indeed, and manages to deliver a film that injects new life into the Thor series, manages to fit in with other chapters of the franchise without feeling too alien, but still has liberal splashings of Waititi's trademark wit throughout.
The comedy in this entry is thick and fast, but everything lands just right. It's fair to say that it's taken a leaf out the Guardians of the Galaxy playbook, but manages to come across smoother and feel more refined in it's humour than Vol. 2.
Chris Hemsworth, Tom Hiddleston, Anthony Hopkins, Mark Ruffalo and Idris Elba are back and as good as ever with MCU newcomers Cate Blanchett, carving a memorable figure as this movies big bad Hela (who I really hope we see again at somepoint), Tessa Thompson as the badass Valkyrie, a wonderful Jeff Goldblum as secondary villain Grandmaster (another that I hope we see again), and Karl Urban as The Executioner. It's a well put together cast.
It's packed full of comic shit too, with references to Man Thing, Beta Ray Bill, and Bi Beast, a tie in appearance from Doctor Strange, the first appearance of Surtur, and Hulk rampaging through Asgard. It has relentlessly entertaining set pieces and an 80s synth style soundtrack that tops everything wonderfully.
Not much to complain about here - easily the best of the Thor trilogy and a solid entry into the wider MCU.
Movie Metropolis (309 KP) rated Noah (2014) in Movies
Jun 11, 2019
Biblical epics never seem to translate well from paper to the big screen. Mel Gibson’s 2004 misfire, The Passion of the Christ, showed just how difficult it was to turn promising source material into silver screen gold.
Now, 10 years on from that, Black Swan director Darren Aronofsky breathes new life into the biblical genre with his take on the classic ‘Noah’ tale. But can his sixth attempt behind the camera reverse the ailing genre’s fortunes?
Unfortunately, the answer is no. From lacklustre special effects to dreadful acting, Aronofsky’s biblical epic fails from start to finish, with only a few key scenes lifting it above The Passion of the Christ.
Noah follows the story of the titular hero played by Russell Crowe as he sets out on a mission given to him by the ‘Creator’ to rid the world of its evil and to start afresh. Jennifer Connelly plays Noah’s wife Naameh and Ray Winstone portrays his arch nemesis, Tubal-cain.
The story is like the tale we all know, but on steroids. Gone is the subtlety of the bibleNoah-poster version and in its place is a stark environmental message as Noah tells his family and those around him that humans have destroyed the planet and that we ourselves, must be destroyed. From stone angels sent to watch over the human race, to the addition of numerous characters, Noah rids the story of its depth in favour of poor special effects and anti-climatic battles. It’s a real shame as Aronofsky has proven himself to be utterly talented behind the lens.
The performances are also well-below what we expect from such gifted actors. Emma Watson’s take of Ila, Noah’s daughter-in-law is laughable at best; a world away from the talent we saw towards the end of the Harry Potter series. Jennifer Connelly is outstandingly poor and Russell Crowe seems to be on auto-pilot as he spouts meaningless drivel. Only Anthony Hopkins leaves his fine reputation in tact as Methuselah, though he is in the film for less than 15 minutes.
Moreover, the best and most memorable part from the bible story, the animals, is completely misguided. Not only are they playing second fiddle to the ridiculous rivalry between Noah and Ray Winstone’s idiotic villain, they are rendered in such poor CGI, you never truly believe that they are there. The elephants and snakes in particular are very shoddy.
Thankfully all is not lost. Being a Darren Aronofsky film, Noah is a beautifully shot film. The cinematography is outstanding with stunning vistas of a huge variety of landscapes and the inclusion of an exciting Genesis featurette in the latter half of the picture are real highlights.
At 138 minutes Noah is a true bum-number and there’ll be lots of shuffling about in your seat as you struggle to digest each and every part of information the film shoves down your throat.
Unfortunately, a promising marketing campaign and some good trailers mask a film which never rises above average. The special effects really needed much more work and the acting is very poor. Only a few stand-out scenes stop it from falling below The Passion of the Christ as another biblical turkey.
https://moviemetropolis.net/2014/04/14/noah-review/
Now, 10 years on from that, Black Swan director Darren Aronofsky breathes new life into the biblical genre with his take on the classic ‘Noah’ tale. But can his sixth attempt behind the camera reverse the ailing genre’s fortunes?
Unfortunately, the answer is no. From lacklustre special effects to dreadful acting, Aronofsky’s biblical epic fails from start to finish, with only a few key scenes lifting it above The Passion of the Christ.
Noah follows the story of the titular hero played by Russell Crowe as he sets out on a mission given to him by the ‘Creator’ to rid the world of its evil and to start afresh. Jennifer Connelly plays Noah’s wife Naameh and Ray Winstone portrays his arch nemesis, Tubal-cain.
The story is like the tale we all know, but on steroids. Gone is the subtlety of the bibleNoah-poster version and in its place is a stark environmental message as Noah tells his family and those around him that humans have destroyed the planet and that we ourselves, must be destroyed. From stone angels sent to watch over the human race, to the addition of numerous characters, Noah rids the story of its depth in favour of poor special effects and anti-climatic battles. It’s a real shame as Aronofsky has proven himself to be utterly talented behind the lens.
The performances are also well-below what we expect from such gifted actors. Emma Watson’s take of Ila, Noah’s daughter-in-law is laughable at best; a world away from the talent we saw towards the end of the Harry Potter series. Jennifer Connelly is outstandingly poor and Russell Crowe seems to be on auto-pilot as he spouts meaningless drivel. Only Anthony Hopkins leaves his fine reputation in tact as Methuselah, though he is in the film for less than 15 minutes.
Moreover, the best and most memorable part from the bible story, the animals, is completely misguided. Not only are they playing second fiddle to the ridiculous rivalry between Noah and Ray Winstone’s idiotic villain, they are rendered in such poor CGI, you never truly believe that they are there. The elephants and snakes in particular are very shoddy.
Thankfully all is not lost. Being a Darren Aronofsky film, Noah is a beautifully shot film. The cinematography is outstanding with stunning vistas of a huge variety of landscapes and the inclusion of an exciting Genesis featurette in the latter half of the picture are real highlights.
At 138 minutes Noah is a true bum-number and there’ll be lots of shuffling about in your seat as you struggle to digest each and every part of information the film shoves down your throat.
Unfortunately, a promising marketing campaign and some good trailers mask a film which never rises above average. The special effects really needed much more work and the acting is very poor. Only a few stand-out scenes stop it from falling below The Passion of the Christ as another biblical turkey.
https://moviemetropolis.net/2014/04/14/noah-review/
Bob Mann (459 KP) rated The Many Saints of Newark (2021) in Movies
Oct 5, 2021
Production design (1 more)
Great cast
Sopranos prequel that failed to hit the high note with this Sopranos virgin.
With Bond showing on virtually every screen of my local Cineworld, there were few other choices for movies to go see this week. So even though I've never seen "The Sopranos" TV series, I decided to give this movie prequel a shot.
Positives:
- Like any good mafia story, there's a nicely developed sense of place for the action. The film is set in the late 60's / early 70's, and the score and the production design nicely portray the period. The rise of black factions to challenge the white status quo, even in the crime world, make this a nice companion piece to "Judas and the Black Messiah" .
- Although he's been in films like "American Hustle" and "Selma", I wouldn't have been able to pick Alessandro Nivola out of a line-up. But he did a great job portraying the different sides of Dickie: both caring uncle and psychopathic gangster. And Odom Jnr is again impressive: I've not yet seen him deliver any role that's been sub-par.
- It's also impressive that they had Michael Gandolfini to play the younger self of his late father's role. Although I kept being distracted by how much he looks and acts like a young John Cusack!
Negatives:
- The story is told over many years and the script came across as quite uneven. There are regular cut-aways to Dickie visiting his uncle "Hollywood Dick" (Ray Liotta) in prison, which a lot of the time, to me, felt disconnected from the main plot.
- Whilst most of the ensemble cast do a good job, some of the portrayals felt like forced caricatures of "Goodfellas" characters.
- As a "Sopranos" virgin, I could tell that there were lots of Easter Eggs and in-jokes in the movie (e.g. The baby Christopher crying whenever Anthony talked to him). WIth "Sopranos" regulars Alan Taylor and David Chase in charge, that's not surprising. But I'm afraid all of these went right over my head.
Summary Thoughts on "The Many Saints of Newark": This wasn't a complete bust for me, which it might have been if it had been a sequel rather than a prequel. Indeed there are the occasional flashes of brilliance with certain scenes. But neither did I find it so engrossing that it's going to trouble my top 20 for the year.
I guess is that if you are a "Sopranos" fan, then you would get a lot more out of this than I did. But it's still an interesting way to spend a couple of hours.
(For the full graphical review, please check out #oemannsmovies on the web, Facebook or Tiktok. Thanks.)
Positives:
- Like any good mafia story, there's a nicely developed sense of place for the action. The film is set in the late 60's / early 70's, and the score and the production design nicely portray the period. The rise of black factions to challenge the white status quo, even in the crime world, make this a nice companion piece to "Judas and the Black Messiah" .
- Although he's been in films like "American Hustle" and "Selma", I wouldn't have been able to pick Alessandro Nivola out of a line-up. But he did a great job portraying the different sides of Dickie: both caring uncle and psychopathic gangster. And Odom Jnr is again impressive: I've not yet seen him deliver any role that's been sub-par.
- It's also impressive that they had Michael Gandolfini to play the younger self of his late father's role. Although I kept being distracted by how much he looks and acts like a young John Cusack!
Negatives:
- The story is told over many years and the script came across as quite uneven. There are regular cut-aways to Dickie visiting his uncle "Hollywood Dick" (Ray Liotta) in prison, which a lot of the time, to me, felt disconnected from the main plot.
- Whilst most of the ensemble cast do a good job, some of the portrayals felt like forced caricatures of "Goodfellas" characters.
- As a "Sopranos" virgin, I could tell that there were lots of Easter Eggs and in-jokes in the movie (e.g. The baby Christopher crying whenever Anthony talked to him). WIth "Sopranos" regulars Alan Taylor and David Chase in charge, that's not surprising. But I'm afraid all of these went right over my head.
Summary Thoughts on "The Many Saints of Newark": This wasn't a complete bust for me, which it might have been if it had been a sequel rather than a prequel. Indeed there are the occasional flashes of brilliance with certain scenes. But neither did I find it so engrossing that it's going to trouble my top 20 for the year.
I guess is that if you are a "Sopranos" fan, then you would get a lot more out of this than I did. But it's still an interesting way to spend a couple of hours.
(For the full graphical review, please check out #oemannsmovies on the web, Facebook or Tiktok. Thanks.)
Gareth von Kallenbach (965 KP) rated Beowulf (2007) in Movies
Aug 14, 2019
The classic Epic poem Beowulf has come to the big screen in a stunning CGI extravaganza under the direction of Director Robert Zemeckis.
For those not familiar with the poem, it is an ancient Danish poem that talks of the heroic exploits of the hero Beowulf, as he battles all manner of bizarre creatures. The poem was told orally from generation to generation and eventually became known to many as the source of much of the early great literature from the western world.
I first became familiar with the tale some twenty years ago during my early years in private school where our headmaster had it as required reading for all of his students in honors level English.
The film stays very close to the poem and tells the tale of King Hrothgar (Sir Anthony Hopkins), a troubled leader whose kingdom is under siege by a hideous creature known as Grendel (Crispin Glover).
During a brutal attack by Grendel which results in the loss of many lives, King Hrothgar promises half the gold in his kingdom to any hero who can rid the land once and for all of the foul creature that has caused so much suffering.
In short order, the heroic Beowulf (Ray Winstone), arrives with is army of warriors to take up the challenge. Beowulf is legendary for his exploits in vanishing monsters, but his boastful nature raises the concerns of Unferth (John Malkovich), who thinks that Beowulf ‘s reputation and ability is far more style than substance.
Eventually Beowulf battles Grendel, and accomplishes his goal but learns that the monster has a Demonic mother that to must be destroyed in order for peace to truly be achieved.
Beowulf sets off the kill the demon (Angelina Jolie), but finds himself unable to match her whiles, and enters into a deal that has far reaching repercussions.
The second half of the film deals with the consequences of Beowulf’s decisions and how having is not nearly as important as wanting, which leads to a spectacular and FX filled final segment.
The film is amazing, and for those lucky enough to see the film in 3D, filled with amazing visual treats.
While the film is in no way suitable for children due to the violence it contains, the story holds up very well centuries later, and provides a solidly entertaining tale of heroism, betrayal, and morality that stands the test of time.
I had concerns that the film would be a slap-dashed effort that was attempting to cash in on the success of “The 300”, but in actuality, I found this film to be far more entertaining and satisfying.
The voice work of the cast is solid, but it is clearly the visuals that drive this film, as well as the dynamic effects made possible by the latest advancements in 3D technology as the film literally bursts out of the screen.
Beowulf will not be for everyone as those unfamiliar with the work on which it is based may find it derivative or predictable, but when you consider this is literally the tale that started it all, you could make an argument, that it set the table for all future tales to follow.
For those not familiar with the poem, it is an ancient Danish poem that talks of the heroic exploits of the hero Beowulf, as he battles all manner of bizarre creatures. The poem was told orally from generation to generation and eventually became known to many as the source of much of the early great literature from the western world.
I first became familiar with the tale some twenty years ago during my early years in private school where our headmaster had it as required reading for all of his students in honors level English.
The film stays very close to the poem and tells the tale of King Hrothgar (Sir Anthony Hopkins), a troubled leader whose kingdom is under siege by a hideous creature known as Grendel (Crispin Glover).
During a brutal attack by Grendel which results in the loss of many lives, King Hrothgar promises half the gold in his kingdom to any hero who can rid the land once and for all of the foul creature that has caused so much suffering.
In short order, the heroic Beowulf (Ray Winstone), arrives with is army of warriors to take up the challenge. Beowulf is legendary for his exploits in vanishing monsters, but his boastful nature raises the concerns of Unferth (John Malkovich), who thinks that Beowulf ‘s reputation and ability is far more style than substance.
Eventually Beowulf battles Grendel, and accomplishes his goal but learns that the monster has a Demonic mother that to must be destroyed in order for peace to truly be achieved.
Beowulf sets off the kill the demon (Angelina Jolie), but finds himself unable to match her whiles, and enters into a deal that has far reaching repercussions.
The second half of the film deals with the consequences of Beowulf’s decisions and how having is not nearly as important as wanting, which leads to a spectacular and FX filled final segment.
The film is amazing, and for those lucky enough to see the film in 3D, filled with amazing visual treats.
While the film is in no way suitable for children due to the violence it contains, the story holds up very well centuries later, and provides a solidly entertaining tale of heroism, betrayal, and morality that stands the test of time.
I had concerns that the film would be a slap-dashed effort that was attempting to cash in on the success of “The 300”, but in actuality, I found this film to be far more entertaining and satisfying.
The voice work of the cast is solid, but it is clearly the visuals that drive this film, as well as the dynamic effects made possible by the latest advancements in 3D technology as the film literally bursts out of the screen.
Beowulf will not be for everyone as those unfamiliar with the work on which it is based may find it derivative or predictable, but when you consider this is literally the tale that started it all, you could make an argument, that it set the table for all future tales to follow.
Chris Sawin (602 KP) rated A Clockwork Orange (1971) in Movies
Jun 15, 2019
Alex DeLarge (Malcolm McDowell) is your average eighteen year old boy...if by average, you mean he fully embraces the old ultraviolence and wanders the streets with his three droogs causing havoc and doing whatever he likes; skipping school, breaking and entering, rape, and assault is just another average day in Alex's life. However, when a planned rape turns into an "accidental" murder, things start to turn fowl for Alex. His droogs turn on him and he winds up being caught by the police. He is then taken to a correctional facility where he spends the next few years, puts on the front that he's fully embraced the bible and that he's now a changed man. But when word makes round of the experimental Ludovico treatment, Alex realizes his chance at freedom and jumps through the proper hoops to get out of the penitentiary he finds himself in and get into the experimental facility where he can be "cured."
Alex is promised that he'll be a free man within a fortnight. The treatment consists of a drug known as Serum 114 being injected into the patient before making them sit through short films such as a man being beaten to a pulp, a woman being the sexual victim of several men, and a Nazi concentration camp film set to the soundtrack of Beethoven's ninth symphony. Alex begins to feel sick during the films and the doctors insist that it's part of the cure. Alex's love for music and Beethoven in general become one of the adverse effects of the treatment as the ninth symphony has the same effect on Alex as the urge to beat or rape someone would. Alex soon comes to realize that you can never go home again and that being a free man isn't all it's cracked up to be, especially after a treatment such as this.
It took 37 years after its initial theatrical release and 24 years of being alive on this planet (the original viewing of this film was in 2008) to finally get around to seeing A Clockwork Orange. The film starts and it makes the viewer feel like they've missed something entirely that everyone else already knows about, but as the film unravels it snowballs into a unique vision of cinema. There are shades of Altered States in A Clockwork Orange, but A Clockwork Orange feels much more polarizing in its presentation in comparison. Stanley Kubrick tries to shine this spotlight of beauty onto the most heinous of actions as the film’s classical score becomes the soundtrack to ferocious and almost inhuman desires. This is Kubrick’s adaptation of the 1962 novel of the same name written by Anthony Burgess and it’s incredible how the film is able to remain captivating over a two hour period.
The film has a stunning restoration on the two-disc Blu-ray anniversary edition. Kubrick always had a brilliant eye when it came to perspective and camera placement; the majority of that could be contributed to Kubrick’s frequent collaborations with cinematographer John Alcott. The long hallway shots and close-ups on memorably haunting facial expressions are some of the most significant scenes in the film. A Clockwork Orange is loaded with vibrant colors that make every frame jump off the screen despite the film nearing half a century in age. This was the first film to take advantage of Dolby Digital surround sound, which contributes to the film sounding as good as it does.
Even with Stanley Kubrick as director, A Clockwork Orange wouldn’t be the same without Malcolm McDowell. McDowell fits the Alex DeLarge role as perfectly as Robert Downey Jr fits Tony Stark; these actors are these characters. The speeches McDowell gives in the film along with how traumatized he is after the treatment process are two of the biggest takeaways after viewing the film. This was one of McDowell’s first on-screen roles, which is surprising given how enthralling he is. You will never think of, “Singin’ in the Rain,” the same way again after viewing A Clockwork Orange.
A Clockwork Orange is a unique expedition into insanity no matter how you look at it. The dialogue is unusual and the characters are this fantastic blend of bizarre and diabolical, but the film is consistently engrossing and never seems to lag. Prior to 1986, the A Clockwork Orange novel was published in the US without its final chapter and that’s the version of the film Kubrick adapted. Anthony Burgess praised Kubrick’s version of the film despite this, which is more than what Stephen King did with Kubrick’s adaptation of The Shining. Every shot in A Clockwork Orange grabs your attention largely in part to how it’s presented or the colors that leap off the screen. The novel is written in a way that’s difficult to read and that often translates on-screen. Like most of Kubrick’s work, A Clockwork Orange is for a specific audience. It is perhaps what Malcolm McDowell is known best for and probably shouldn’t be recommended to just anyone since it would likely soar over a modern day moviegoer. This isn’t the type of film to have on in the background while you text or play games on your phone. Ultraviolence is something you have to embrace and give your undivided attention to.
This is viewed by some as one of the greatest sci-fi films ever by some, but it isn’t any less pretentious than the rest of Stanley Kubrick’s work. A Clockwork Orange is mesmerizing with a performance from Malcolm McDowell that leaves a long lasting impact, but its affinity to utilize difficult to decipher jargon, nonstop innuendo being slammed into your face, and overuse of animalistic violence shackles the film from being more appealing to a wider audience. From a personal standpoint, A Clockwork Orange is one of Kubrick's best but it's easy to understand why it wouldn't be for everyone.
Alex is promised that he'll be a free man within a fortnight. The treatment consists of a drug known as Serum 114 being injected into the patient before making them sit through short films such as a man being beaten to a pulp, a woman being the sexual victim of several men, and a Nazi concentration camp film set to the soundtrack of Beethoven's ninth symphony. Alex begins to feel sick during the films and the doctors insist that it's part of the cure. Alex's love for music and Beethoven in general become one of the adverse effects of the treatment as the ninth symphony has the same effect on Alex as the urge to beat or rape someone would. Alex soon comes to realize that you can never go home again and that being a free man isn't all it's cracked up to be, especially after a treatment such as this.
It took 37 years after its initial theatrical release and 24 years of being alive on this planet (the original viewing of this film was in 2008) to finally get around to seeing A Clockwork Orange. The film starts and it makes the viewer feel like they've missed something entirely that everyone else already knows about, but as the film unravels it snowballs into a unique vision of cinema. There are shades of Altered States in A Clockwork Orange, but A Clockwork Orange feels much more polarizing in its presentation in comparison. Stanley Kubrick tries to shine this spotlight of beauty onto the most heinous of actions as the film’s classical score becomes the soundtrack to ferocious and almost inhuman desires. This is Kubrick’s adaptation of the 1962 novel of the same name written by Anthony Burgess and it’s incredible how the film is able to remain captivating over a two hour period.
The film has a stunning restoration on the two-disc Blu-ray anniversary edition. Kubrick always had a brilliant eye when it came to perspective and camera placement; the majority of that could be contributed to Kubrick’s frequent collaborations with cinematographer John Alcott. The long hallway shots and close-ups on memorably haunting facial expressions are some of the most significant scenes in the film. A Clockwork Orange is loaded with vibrant colors that make every frame jump off the screen despite the film nearing half a century in age. This was the first film to take advantage of Dolby Digital surround sound, which contributes to the film sounding as good as it does.
Even with Stanley Kubrick as director, A Clockwork Orange wouldn’t be the same without Malcolm McDowell. McDowell fits the Alex DeLarge role as perfectly as Robert Downey Jr fits Tony Stark; these actors are these characters. The speeches McDowell gives in the film along with how traumatized he is after the treatment process are two of the biggest takeaways after viewing the film. This was one of McDowell’s first on-screen roles, which is surprising given how enthralling he is. You will never think of, “Singin’ in the Rain,” the same way again after viewing A Clockwork Orange.
A Clockwork Orange is a unique expedition into insanity no matter how you look at it. The dialogue is unusual and the characters are this fantastic blend of bizarre and diabolical, but the film is consistently engrossing and never seems to lag. Prior to 1986, the A Clockwork Orange novel was published in the US without its final chapter and that’s the version of the film Kubrick adapted. Anthony Burgess praised Kubrick’s version of the film despite this, which is more than what Stephen King did with Kubrick’s adaptation of The Shining. Every shot in A Clockwork Orange grabs your attention largely in part to how it’s presented or the colors that leap off the screen. The novel is written in a way that’s difficult to read and that often translates on-screen. Like most of Kubrick’s work, A Clockwork Orange is for a specific audience. It is perhaps what Malcolm McDowell is known best for and probably shouldn’t be recommended to just anyone since it would likely soar over a modern day moviegoer. This isn’t the type of film to have on in the background while you text or play games on your phone. Ultraviolence is something you have to embrace and give your undivided attention to.
This is viewed by some as one of the greatest sci-fi films ever by some, but it isn’t any less pretentious than the rest of Stanley Kubrick’s work. A Clockwork Orange is mesmerizing with a performance from Malcolm McDowell that leaves a long lasting impact, but its affinity to utilize difficult to decipher jargon, nonstop innuendo being slammed into your face, and overuse of animalistic violence shackles the film from being more appealing to a wider audience. From a personal standpoint, A Clockwork Orange is one of Kubrick's best but it's easy to understand why it wouldn't be for everyone.
Chris Sawin (602 KP) rated Black Widow (2021) in Movies
Oct 6, 2021
Florence Pugh (2 more)
The free-fall sequence at the end.
Taskmaster before the mask comes off.
It's way too long. (3 more)
The Taskmaster changes are weak.
It's as if the characters are fighting over who gets to be the comedic relief.
Familiar storyline.
Espionage Exhaustion
Black Widow is a film explaining what Natasha Romanoff (Scarlett Johansson) was up to in-between Captain America: Civil War and Avengers: Infinity War. The film was originally set to be released in May of 2020, but was pushed back and had three different release dates thanks to COVID-19. Unfortunately, most completed films that sit on the shelf and are in limbo for over a year rarely live up to the anticipation. Black Widow is worthwhile for a few key action sequences and notable characters that steal the spotlight, but is otherwise a mostly forgettable superhero film.
Marketed as a superhero film, Black Widow is also a spy thriller. Johansson has stated that films such as Logan, Harrison Ford’s The Fugitive, and Terminator 2: Judgment Day were influences. After Civil War, Thaddeus Ross (William Hurt) is on the hunt for Natasha Romanoff. Women like Natasha who have had similar training in a torturous training facility known as The Red Room are victims to brainwashing by a man named Dreykov (Ray Winstone), but a serum ends up in Natasha’s hands that can break Dreykov’s brainwashing. Natasha begins searching for The Red Room and Dreykov, which also has her crossing paths with other spies that posed as her family members; her “sister” Yelena Belova (Florence Pugh), her “father” Alexai Shostakov (David Harbour), and her “mother” Melina Vostokoff (Rachel Weisz).
The biggest selling point for Black Widow is that it’s a mostly female cast in front of and behind the camera. The film is directed by Cate Shortland and Black Widow is her first big budget feature. It’s also co-written by female screenwriter Jac Schaeffer (uncredited co-screenwriter of Captain Marvel) and Ned Benson (director of The Disappearance of Eleanor Rigby).
Taskmaster is cool in the film until you realize the character has been altered from his comic book origins. This isn’t uncommon in the MCU or even other live-action superhero adaptations, but what the character has become in the film will be received with mixed results. In the comics, Taskmaster’s real identity is Anthony Masters and he’s a mercenary not unlike Deadpool (the two have fought together and against each other). Copying fighting styles and weapon techniques is similar to the film, but it’s all thanks to his incredible memory and photographic reflexes.
The character is altered to fit the story in the Black Widow film. It’s not necessarily a bad thing as it gives a bigger purpose for the character since it suddenly becomes a major part of Natasha’s storyline, but how the character evolves over the course of the film seems to almost relieve Natasha of her past sins rather than continue to serve as a catalyst. Taskmaster is generally involved in some of the best hand-to-hand combat sequences, but seems to be left hanging by the end of the film. We could see the character again, but whether or not the desire is there to see Taskmaster return is debatable.
The free-fall sequence that has been teased in the trailers is Black Widow’s most unique source of action. There’s exploding elements and falling debris, Natasha trying to save someone’s life, and Taskmaster thrown in attempting to mess up whatever she has planned; plus a bunch of goons bringing up the rear that will obviously be taken out in peak fashion. The sequence is like a duel to the death taking place on the edge of a volcano that’s about to erupt. It’s on the verge of being overkill, but is just awesome enough to trigger all of the adrenaline in your body.
Kevin Feige apparently wanted an equal amount of screen time for both Natasha and Yelena. With the after-credits sequence, Natasha being very dead after the events of Infinity War, and the reports that Yelena may be the new Black Widow, she’s essentially the star of the film and for good reason. The character begins as an individual with a chip on her shoulder from someone from her past, but Florence Pugh is able to add humor and empathy with her performance. Yelena has the best one-liners in the film (“That would be a cool way to die,”) and is essentially the best source of comedic relief (i.e. her hysterectomy rant), as well. She is the one character in the film you’d want to see more of after Black Widow ends.
The storyline of Black Widow doesn’t feel like anything you haven’t experienced cinematically before, especially within the confines of the MCU. An evil man is responsible for pulling the strings of a bunch of women that would kick his ass otherwise. Unfortunately, Ray Winstone doesn’t feel all that intimidating as Dreykov since he doesn’t do much besides talk in Black Widow. The point is made in the film that is all there’s really needed of the character, but Dreykov’s biggest weapon is his mouth. However, his verbal skills don’t seem advantageous enough to make him such a threat let alone keep him alive for over 20 years.
It also feels like every MCU film has its on-screen characters competing over who can get the most laughs; this is something that only got worse after Thor: Ragnarok proved to be a success. Marvel films are already so formulaic with most villains being introduced and killed within the confines of a single film. Natasha’s spy family all feel like minor extensions of herself. Rachel Weisz, despite not aging a day in nearly 30 years, is forgettable as Melina. David Harbour is essentially his character from Stranger things cosplaying as Mr. Incredible with a Russian accent. Even Florence Pugh’s Yelena Belova character is basically a blonde younger version of Natasha even though they’re not related by blood.
Black Widow clocks in at over two hours and it feels like a film that could have been edited down. Witnessing the events of a dysfunctional spy family who then spend good chunks of the film reminiscing about those moments the audience has already seen is redundant storytelling that feels like nothing more than filler.
Black Widow is worth seeing for Florence Pugh, the free-fall action sequence, and anything involving Taskmaster before it’s revealed who is under the mask. Everything else about Black Widow feels like it was done better by the films it was supposedly influenced by and mostly feels like a diluted imitation of Captain America: The Winter Soldier. It’s fantastic that women are getting more opportunities in big summer blockbusters like this one, but it’s also disheartening since their filmmaking skills are shackled to formulaic superfluity that obviously stands in the way of creating extraordinary cinema.
Marketed as a superhero film, Black Widow is also a spy thriller. Johansson has stated that films such as Logan, Harrison Ford’s The Fugitive, and Terminator 2: Judgment Day were influences. After Civil War, Thaddeus Ross (William Hurt) is on the hunt for Natasha Romanoff. Women like Natasha who have had similar training in a torturous training facility known as The Red Room are victims to brainwashing by a man named Dreykov (Ray Winstone), but a serum ends up in Natasha’s hands that can break Dreykov’s brainwashing. Natasha begins searching for The Red Room and Dreykov, which also has her crossing paths with other spies that posed as her family members; her “sister” Yelena Belova (Florence Pugh), her “father” Alexai Shostakov (David Harbour), and her “mother” Melina Vostokoff (Rachel Weisz).
The biggest selling point for Black Widow is that it’s a mostly female cast in front of and behind the camera. The film is directed by Cate Shortland and Black Widow is her first big budget feature. It’s also co-written by female screenwriter Jac Schaeffer (uncredited co-screenwriter of Captain Marvel) and Ned Benson (director of The Disappearance of Eleanor Rigby).
Taskmaster is cool in the film until you realize the character has been altered from his comic book origins. This isn’t uncommon in the MCU or even other live-action superhero adaptations, but what the character has become in the film will be received with mixed results. In the comics, Taskmaster’s real identity is Anthony Masters and he’s a mercenary not unlike Deadpool (the two have fought together and against each other). Copying fighting styles and weapon techniques is similar to the film, but it’s all thanks to his incredible memory and photographic reflexes.
The character is altered to fit the story in the Black Widow film. It’s not necessarily a bad thing as it gives a bigger purpose for the character since it suddenly becomes a major part of Natasha’s storyline, but how the character evolves over the course of the film seems to almost relieve Natasha of her past sins rather than continue to serve as a catalyst. Taskmaster is generally involved in some of the best hand-to-hand combat sequences, but seems to be left hanging by the end of the film. We could see the character again, but whether or not the desire is there to see Taskmaster return is debatable.
The free-fall sequence that has been teased in the trailers is Black Widow’s most unique source of action. There’s exploding elements and falling debris, Natasha trying to save someone’s life, and Taskmaster thrown in attempting to mess up whatever she has planned; plus a bunch of goons bringing up the rear that will obviously be taken out in peak fashion. The sequence is like a duel to the death taking place on the edge of a volcano that’s about to erupt. It’s on the verge of being overkill, but is just awesome enough to trigger all of the adrenaline in your body.
Kevin Feige apparently wanted an equal amount of screen time for both Natasha and Yelena. With the after-credits sequence, Natasha being very dead after the events of Infinity War, and the reports that Yelena may be the new Black Widow, she’s essentially the star of the film and for good reason. The character begins as an individual with a chip on her shoulder from someone from her past, but Florence Pugh is able to add humor and empathy with her performance. Yelena has the best one-liners in the film (“That would be a cool way to die,”) and is essentially the best source of comedic relief (i.e. her hysterectomy rant), as well. She is the one character in the film you’d want to see more of after Black Widow ends.
The storyline of Black Widow doesn’t feel like anything you haven’t experienced cinematically before, especially within the confines of the MCU. An evil man is responsible for pulling the strings of a bunch of women that would kick his ass otherwise. Unfortunately, Ray Winstone doesn’t feel all that intimidating as Dreykov since he doesn’t do much besides talk in Black Widow. The point is made in the film that is all there’s really needed of the character, but Dreykov’s biggest weapon is his mouth. However, his verbal skills don’t seem advantageous enough to make him such a threat let alone keep him alive for over 20 years.
It also feels like every MCU film has its on-screen characters competing over who can get the most laughs; this is something that only got worse after Thor: Ragnarok proved to be a success. Marvel films are already so formulaic with most villains being introduced and killed within the confines of a single film. Natasha’s spy family all feel like minor extensions of herself. Rachel Weisz, despite not aging a day in nearly 30 years, is forgettable as Melina. David Harbour is essentially his character from Stranger things cosplaying as Mr. Incredible with a Russian accent. Even Florence Pugh’s Yelena Belova character is basically a blonde younger version of Natasha even though they’re not related by blood.
Black Widow clocks in at over two hours and it feels like a film that could have been edited down. Witnessing the events of a dysfunctional spy family who then spend good chunks of the film reminiscing about those moments the audience has already seen is redundant storytelling that feels like nothing more than filler.
Black Widow is worth seeing for Florence Pugh, the free-fall action sequence, and anything involving Taskmaster before it’s revealed who is under the mask. Everything else about Black Widow feels like it was done better by the films it was supposedly influenced by and mostly feels like a diluted imitation of Captain America: The Winter Soldier. It’s fantastic that women are getting more opportunities in big summer blockbusters like this one, but it’s also disheartening since their filmmaking skills are shackled to formulaic superfluity that obviously stands in the way of creating extraordinary cinema.