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RəX Regent (349 KP) rated Night of the Living Dead (1968) in Movies
Feb 19, 2019
Iconic, influential and ground-breaking. All words to describe George A. Romero’s inaugural zombie horror, but what sets this apart from its contemporaries and the endless variations in the genre in which this Indie movie helped spawn?
Well to begin with, this is far from a simple zombie thriller. The real villains here are the collection of damaged human characters who all find themselves trapped together in an old farmhouse, barricaded within its fragile wooden walls, fighting not only the onslaught of zombie without, but the angst and fear from within.
At times they work together but unlike most films like this, the group rarely work at all, with conflicted views on how to survive, blinding them to the fact that if they only worked together they may just do so.
Instead, they all end up dead, with our leading man, a strong, smart black character, which at the time was a bold choice, being murdered by the redneck police posse, who mistake him for a zombie. But the metaphor, though hard to ignore, of a black man being gunned down without the white men bothering to ensure that he was zombie, may just be a coincidence, but the irony that he, Ben (Duane Jones) manages to survive until the end only be to gunned down in the final moments, is a tragedy that sums up this film’s tone.
With a killer child, a nude female zombie, a dysfunctional couple and the first named victim displaying a complacent contempt for God and the church, this group are real, though the acting standards are variable, the writing and direction are constantly very good, with a sense or gritty realism permeating throughout. Maintained by good pacing and gruesome cannibalistic action, this raised the bar of the genre, both now and then.
Even the zombies get a reasonable, yet none definitive explanation, as told through the radio and TV news. Radiation bringing the dead back to life, well, it may be the trope of 1960’s sci fi but it was well explained and the news reports were well composed, feeling more realistic than most movie news broadcasts.
Romero may have gone on to milk this franchise for all it is worth in the decades since but this opening low budget gem is a real piece of work; A complex moral drama set on one chaotic night in which the dead become living again.
Well to begin with, this is far from a simple zombie thriller. The real villains here are the collection of damaged human characters who all find themselves trapped together in an old farmhouse, barricaded within its fragile wooden walls, fighting not only the onslaught of zombie without, but the angst and fear from within.
At times they work together but unlike most films like this, the group rarely work at all, with conflicted views on how to survive, blinding them to the fact that if they only worked together they may just do so.
Instead, they all end up dead, with our leading man, a strong, smart black character, which at the time was a bold choice, being murdered by the redneck police posse, who mistake him for a zombie. But the metaphor, though hard to ignore, of a black man being gunned down without the white men bothering to ensure that he was zombie, may just be a coincidence, but the irony that he, Ben (Duane Jones) manages to survive until the end only be to gunned down in the final moments, is a tragedy that sums up this film’s tone.
With a killer child, a nude female zombie, a dysfunctional couple and the first named victim displaying a complacent contempt for God and the church, this group are real, though the acting standards are variable, the writing and direction are constantly very good, with a sense or gritty realism permeating throughout. Maintained by good pacing and gruesome cannibalistic action, this raised the bar of the genre, both now and then.
Even the zombies get a reasonable, yet none definitive explanation, as told through the radio and TV news. Radiation bringing the dead back to life, well, it may be the trope of 1960’s sci fi but it was well explained and the news reports were well composed, feeling more realistic than most movie news broadcasts.
Romero may have gone on to milk this franchise for all it is worth in the decades since but this opening low budget gem is a real piece of work; A complex moral drama set on one chaotic night in which the dead become living again.
Phillip McSween (751 KP) rated Crawl (2019) in Movies
Jul 26, 2019
Like Sushi Stuffed With Korean BBQ: Try it and You Just Might Like it
When a woman goes to check on her dad during a hurricane, she gets more than she bargained for when she discovers alligators are in the crawl space. Yes, Crawl sounds dumb, but if you give it a chance, there is a possibility that you might just have a good time.
Acting: 10
Beginning: 5
Characters: 6
Cinematography/Visuals: 8
There was a surprising amount of gator gore that I wasn’t prepared for, but welcomed. I never knew how much I needed to see a gator take a Floridian’s head off until the moment I watched Crawl. From an effects standpoints, the film is facing two hurdles: The ongoing hurricane and making the gators feel and look realistic. For the most part, both hurdles were leapt with ease. A lot of this film takes place within a tight space and director Sam Raimi effectively makes sure each shot looks original and the setting doesn’t get overdone.
Conflict: 10
Agree or disagree with the realism of the plot, you can’t deny the fact that this movie has consistent action throughout. After a slow start, the action quickly kicks in and there is always something happening. The tension buildups were perfect, leaving me on the hook for just long enough to make me want to scream out loud for them to get it over with.
Entertainment Value: 5
Memorability: 8
Pace: 10
At one point while gathering my thoughts, I wrote, “Not going to win any awards but still manages to hold your attention with a consistent pace.” It doesn’t just hold your attention, but commands it with things, crazy things, liable to happen at any moment. Those damn gators could be lurking anywhere as the crawlspace continues to fill up with water. It’s high-level intensity at its finest.
Plot: 5
Resolution: 8
Overall: 75
I never thought I would say this after watching the trailers but…I’d watch Crawl again. Not a classic by any stretch, but there are some that will like it and some that will love it. At a certain point, I was actually hoping it would really exceed my expectations and blow my mind, but I won’t get carried away. It’s good, but it’s not knocking anyone’s socks off.
Acting: 10
Beginning: 5
Characters: 6
Cinematography/Visuals: 8
There was a surprising amount of gator gore that I wasn’t prepared for, but welcomed. I never knew how much I needed to see a gator take a Floridian’s head off until the moment I watched Crawl. From an effects standpoints, the film is facing two hurdles: The ongoing hurricane and making the gators feel and look realistic. For the most part, both hurdles were leapt with ease. A lot of this film takes place within a tight space and director Sam Raimi effectively makes sure each shot looks original and the setting doesn’t get overdone.
Conflict: 10
Agree or disagree with the realism of the plot, you can’t deny the fact that this movie has consistent action throughout. After a slow start, the action quickly kicks in and there is always something happening. The tension buildups were perfect, leaving me on the hook for just long enough to make me want to scream out loud for them to get it over with.
Entertainment Value: 5
Memorability: 8
Pace: 10
At one point while gathering my thoughts, I wrote, “Not going to win any awards but still manages to hold your attention with a consistent pace.” It doesn’t just hold your attention, but commands it with things, crazy things, liable to happen at any moment. Those damn gators could be lurking anywhere as the crawlspace continues to fill up with water. It’s high-level intensity at its finest.
Plot: 5
Resolution: 8
Overall: 75
I never thought I would say this after watching the trailers but…I’d watch Crawl again. Not a classic by any stretch, but there are some that will like it and some that will love it. At a certain point, I was actually hoping it would really exceed my expectations and blow my mind, but I won’t get carried away. It’s good, but it’s not knocking anyone’s socks off.
Phil Leader (619 KP) rated The Noah's Ark Quest (Tyler Locke, #1) in Books
Nov 8, 2019
When engineer Tyler Locke rescues archaeologist Dilara Kenner from a helicopter crash he doesn't know whether to believe her story. She tells hum that a friend of hers was murdered by poison in front of her and that he sent her to find Locke. Since then she has been involved in accidents that she suspects are attempts to kill her too.
Initially skeptical, events (not to mention a bizarre plane crash) soon prove she is indeed correct. And that means that Locke and his friend and colleague Grant Westfield only have a few days to save the human race from destruction.
Positioned firmly in the adventure thriller mould this book is both a terrific example of the type and also refreshingly different. Locke makes a terrific heroic lead, using his engineering and scientific knowledge to gradually work out what is going on and how to stop it. He can handle himself in a fight as well, but the muscle is provided by ex-special forces Westfield. Between them they make a formiddable team - and the banter and wit between them and Kenner is so well written and natural.
The villain of the piece is suitably nasty, a sociopath masquerading as the leader of a religious cult. He shows a worrying tendency to be one step ahead of the heroes at every turn and his motives seem worryingly plausible.
The writing is taut and moves at a considerable pace. There are a number of action sequences - fights, battles, escapes and chases of all sorts - but each is written with an eye to detail and with minimal suspension of belief lending a sense of realism that keeps the whole story grounded.
The British title that I read - The Noah's Ark Quest - is I think a little misleading in that Noah's Ark itself is only of peripheral interest for the bulk of the story. The title of The Ark seems to fit a lot better, resonating as it does with both large ships and places of safety, both themes of note in the book.
This is a very impressive book and one that I thoroughly recommend to anyone who likes their thrillers fast and loud but with an undercurrent of intelligence. Morrison has a real talent for writing which deserves a much wider audience.
Rating: Some violence and some bad language but nothing gratuitous.
Initially skeptical, events (not to mention a bizarre plane crash) soon prove she is indeed correct. And that means that Locke and his friend and colleague Grant Westfield only have a few days to save the human race from destruction.
Positioned firmly in the adventure thriller mould this book is both a terrific example of the type and also refreshingly different. Locke makes a terrific heroic lead, using his engineering and scientific knowledge to gradually work out what is going on and how to stop it. He can handle himself in a fight as well, but the muscle is provided by ex-special forces Westfield. Between them they make a formiddable team - and the banter and wit between them and Kenner is so well written and natural.
The villain of the piece is suitably nasty, a sociopath masquerading as the leader of a religious cult. He shows a worrying tendency to be one step ahead of the heroes at every turn and his motives seem worryingly plausible.
The writing is taut and moves at a considerable pace. There are a number of action sequences - fights, battles, escapes and chases of all sorts - but each is written with an eye to detail and with minimal suspension of belief lending a sense of realism that keeps the whole story grounded.
The British title that I read - The Noah's Ark Quest - is I think a little misleading in that Noah's Ark itself is only of peripheral interest for the bulk of the story. The title of The Ark seems to fit a lot better, resonating as it does with both large ships and places of safety, both themes of note in the book.
This is a very impressive book and one that I thoroughly recommend to anyone who likes their thrillers fast and loud but with an undercurrent of intelligence. Morrison has a real talent for writing which deserves a much wider audience.
Rating: Some violence and some bad language but nothing gratuitous.
Lee (2222 KP) rated The Personal History of David Copperfield (2019) in Movies
Jan 26, 2020
Based on the famous and beloved novel by Charles Dickens, Armando Iannucci (Veep, The Thick of It, The Death of Stalin) brings us this fresh new take on David Copperfield. And it’s like no other Dickens adaptation you’ve ever seen before.
Dev Patel stars as Copperfield, the star and narrator of the story which charts his personal rise from rags to riches during Victorian England. We begin though with Copperfield as an adult, recounting his life story to a small theatre audience as he steps into a painted backdrop behind him on stage, transporting him, and us, to the location of his birth. He enters the family home and continues to narrate from within the scene as his mother struggles with labour. It’s just one of a variety of wonderfully inventive storytelling devices that the movie employs throughout.
While the chaos of childbirth plays out, the first in a long line of star-studded supporting characters arrives, David’s eccentric Aunt Betsey (Tilda Swinton), and we immediately get a glimpse of the kind of humour Iannucci has brought to the story as she sets about upsetting Peggotty, the family housekeeper, and declares that the baby will definitely be a girl.
From there, the storyline is fast paced, weaving between locations as David grows up - from an overturned boat house in Yarmouth, to the chaos of London and the difficulties of working in a bottle factory, and on to the Kent countryside. Along the way we meet yet more big names, including Peter Capaldi, Ben Whishaw, Hugh Laurie, Paul Whitehouse and Benedict Wong. Not to mention countless other recognisable faces.
The Personal History of David Copperfield is a real mixing pot of beautiful visuals, quirky humour and larger than life characters. Realism has been ditched in order to deliver a whimsical tale that is accessible to all ages. Unfortunately though, it just didn’t work for me. Aside from the opening scenes, and the occasional moment later on, the humour didn’t land at all. In fact, I got more laughs from the incredible movie Parasite that I saw just the night before seeing this.
Dev Patel, always impressive and enjoyable in everything he does, is charming as David Copperfield and is definitely the standout. Benedict Wong and Hugh Laurie were both enjoyable, but I felt the others all suffered from a script that just wasn’t strong enough. A beautifully shot movie, bold and bright and vibrant, but instantly forgettable.
Dev Patel stars as Copperfield, the star and narrator of the story which charts his personal rise from rags to riches during Victorian England. We begin though with Copperfield as an adult, recounting his life story to a small theatre audience as he steps into a painted backdrop behind him on stage, transporting him, and us, to the location of his birth. He enters the family home and continues to narrate from within the scene as his mother struggles with labour. It’s just one of a variety of wonderfully inventive storytelling devices that the movie employs throughout.
While the chaos of childbirth plays out, the first in a long line of star-studded supporting characters arrives, David’s eccentric Aunt Betsey (Tilda Swinton), and we immediately get a glimpse of the kind of humour Iannucci has brought to the story as she sets about upsetting Peggotty, the family housekeeper, and declares that the baby will definitely be a girl.
From there, the storyline is fast paced, weaving between locations as David grows up - from an overturned boat house in Yarmouth, to the chaos of London and the difficulties of working in a bottle factory, and on to the Kent countryside. Along the way we meet yet more big names, including Peter Capaldi, Ben Whishaw, Hugh Laurie, Paul Whitehouse and Benedict Wong. Not to mention countless other recognisable faces.
The Personal History of David Copperfield is a real mixing pot of beautiful visuals, quirky humour and larger than life characters. Realism has been ditched in order to deliver a whimsical tale that is accessible to all ages. Unfortunately though, it just didn’t work for me. Aside from the opening scenes, and the occasional moment later on, the humour didn’t land at all. In fact, I got more laughs from the incredible movie Parasite that I saw just the night before seeing this.
Dev Patel, always impressive and enjoyable in everything he does, is charming as David Copperfield and is definitely the standout. Benedict Wong and Hugh Laurie were both enjoyable, but I felt the others all suffered from a script that just wasn’t strong enough. A beautifully shot movie, bold and bright and vibrant, but instantly forgettable.
LeftSideCut (3778 KP) rated Love, Death & Robots - Season 1 in TV
Apr 9, 2020
The beauty of Love, Death and Robots is it's format. An eclectic collection of animated short films, some genuinely brilliant, with a handful of duds, truly gives something for everyone.
There are 18 films on show here, all with something different to offer.
Firstly there were 3 that failed to really resonate with me - Sucker of Souls, When the Yoghurt Took Over, and Alternate Histories. I found these three either slightly boring, or silly for the sake of being silly. There were 2 that sort of floated in the middle - The Dump, and Blind Spot, not bad by any means (none of the shorts are truly bad) but just were sort of there.
Leaving a grand total of 13 shorts that I thought were really really great.
A handful of these realistic CGI entries - namely, Sonnie's Edge, Three Robots, Beyond the Aquila Rift, Shape Shifters (one of the highlights for me), Helping Hand (reminded me of Gravity, in a great way), Lucky 13, and The Secret War.
These lot are lengthier offerings, and boast some good looking CGI animation, bordering on photo realism at times. The run time gives an opportunity for some decent fleshed out stories.
The Secret War in particular is nothing short of breath taking, and may well be my top pick of the whole season.
Elsewhere, we have more cartoony offerings - Suits, a loud animation that features farmers in mech suits fighting aliens. Zima Blue, a beautifully touching story of how a simple robot transcends existence itself - another highlight of the season. Fish Night, a short desert based drama bursting with colour. The animation of this one reminded me of A Scanner Darkly. Good Hunting, a collision of Ancient Chinese stories and a Bioshock style steampunk future. Hard to watch at times, but stunning also - easily would have been my top pick if The Secret War wasn't included.
Rounding it off we have The Witness, and animation that looks like a moving oil painting and reminded me of Mirror's Edge, and Ice Age, a fun short that's the only live action inclusion with CGI flourishes about a civilisation growing in a couple freezer.
It's an ambitious collection of shorts for sure, but like I said, there's something here for everyone. Even the ones that I liked the least are a 6/10 at worst. If you like sci-fi or animation in any shape or form, then check this series out.
There are 18 films on show here, all with something different to offer.
Firstly there were 3 that failed to really resonate with me - Sucker of Souls, When the Yoghurt Took Over, and Alternate Histories. I found these three either slightly boring, or silly for the sake of being silly. There were 2 that sort of floated in the middle - The Dump, and Blind Spot, not bad by any means (none of the shorts are truly bad) but just were sort of there.
Leaving a grand total of 13 shorts that I thought were really really great.
A handful of these realistic CGI entries - namely, Sonnie's Edge, Three Robots, Beyond the Aquila Rift, Shape Shifters (one of the highlights for me), Helping Hand (reminded me of Gravity, in a great way), Lucky 13, and The Secret War.
These lot are lengthier offerings, and boast some good looking CGI animation, bordering on photo realism at times. The run time gives an opportunity for some decent fleshed out stories.
The Secret War in particular is nothing short of breath taking, and may well be my top pick of the whole season.
Elsewhere, we have more cartoony offerings - Suits, a loud animation that features farmers in mech suits fighting aliens. Zima Blue, a beautifully touching story of how a simple robot transcends existence itself - another highlight of the season. Fish Night, a short desert based drama bursting with colour. The animation of this one reminded me of A Scanner Darkly. Good Hunting, a collision of Ancient Chinese stories and a Bioshock style steampunk future. Hard to watch at times, but stunning also - easily would have been my top pick if The Secret War wasn't included.
Rounding it off we have The Witness, and animation that looks like a moving oil painting and reminded me of Mirror's Edge, and Ice Age, a fun short that's the only live action inclusion with CGI flourishes about a civilisation growing in a couple freezer.
It's an ambitious collection of shorts for sure, but like I said, there's something here for everyone. Even the ones that I liked the least are a 6/10 at worst. If you like sci-fi or animation in any shape or form, then check this series out.
Gareth von Kallenbach (977 KP) rated War Horse (2011) in Movies
Aug 7, 2019
“War Horse” is one of Steven Spielberg’s newest silver screen stories. His flair and panache are present, as ever. This gorgeous film pulls on the heart strings, and plays on several different emotional chords.
The story starts as you might guess: a young British lad, Albert Narracot, who is present at the birth of our four-legged hero, Joey the horse, becomes immediately entranced by the grace and majesty of said equine. As any equestrian will tell you, a bond between person and horse is about as magical and mysterious as this film alludes to.
As Joey the horse comes of age, Albert’s father, a drunk, down-and-out soldier-turned-farmer, also sees the beauty of this animal, and bids exceedingly high at auction to win Joey, but does so against his own landlord.
Albert’s father comes home with the horse, intent upon using this thoroughbred as a workhorse, tilling fields instead of running free. Unfortunately for Albert, demands on the farm soon force the horse to be sold, in order to save the family’s home. The British military purchases Joey, and off starts the wild adventure of one horse through the landscape of World War II.
Though many of the scenarios Joey faces are fantastical, this film mixes moments of great sadness, brutal war scenes and amazing joy, sprinkled throughout with laugh-out-loud humor. The unexpected humor accentuates the film, though it occasionally feels awkward, since the subject matter doesn’t lend itself to laughter and merriment. Perhaps this is what makes it so unique; it’s a delightful departure from sad stories that only have a single uplifting moment at the end.
A word of caution to all horse lovers: Joey the horse experiences what the director wants us to perceive as great physical pain, in various parts of the film. I can imagine for some equestrians this will be a bit much to handle.
The only major flaw I found in this film is that they made the horse appear overly intelligent. While I know horses to be very intelligent creatures, there was one scene in particular where Joey took the place of his buddy (another horse) in such dramatic fashion that it seems far too human-like to be plausible.
All in all, the film is a win. The cinematography alone is captivatingly beautiful. The acting, writing and music make up for whatever the film lacks in realism regarding the horse’s fantastical journey.
The story starts as you might guess: a young British lad, Albert Narracot, who is present at the birth of our four-legged hero, Joey the horse, becomes immediately entranced by the grace and majesty of said equine. As any equestrian will tell you, a bond between person and horse is about as magical and mysterious as this film alludes to.
As Joey the horse comes of age, Albert’s father, a drunk, down-and-out soldier-turned-farmer, also sees the beauty of this animal, and bids exceedingly high at auction to win Joey, but does so against his own landlord.
Albert’s father comes home with the horse, intent upon using this thoroughbred as a workhorse, tilling fields instead of running free. Unfortunately for Albert, demands on the farm soon force the horse to be sold, in order to save the family’s home. The British military purchases Joey, and off starts the wild adventure of one horse through the landscape of World War II.
Though many of the scenarios Joey faces are fantastical, this film mixes moments of great sadness, brutal war scenes and amazing joy, sprinkled throughout with laugh-out-loud humor. The unexpected humor accentuates the film, though it occasionally feels awkward, since the subject matter doesn’t lend itself to laughter and merriment. Perhaps this is what makes it so unique; it’s a delightful departure from sad stories that only have a single uplifting moment at the end.
A word of caution to all horse lovers: Joey the horse experiences what the director wants us to perceive as great physical pain, in various parts of the film. I can imagine for some equestrians this will be a bit much to handle.
The only major flaw I found in this film is that they made the horse appear overly intelligent. While I know horses to be very intelligent creatures, there was one scene in particular where Joey took the place of his buddy (another horse) in such dramatic fashion that it seems far too human-like to be plausible.
All in all, the film is a win. The cinematography alone is captivatingly beautiful. The acting, writing and music make up for whatever the film lacks in realism regarding the horse’s fantastical journey.
Paradise City Island Sim - Tropical City Building
Games and Entertainment
App
Play the most popular city building simulation game series on mobile! In this new Paradise City...
Where is My Mask of an Honest Man?
Book
Where is my Mask of an Honest Man? is a powerful collection of short stories set in and around...
LeftSideCut (3778 KP) rated Mulan (2020) in Movies
Dec 6, 2020
I'll start by saying that the original 1998 Mulan is quite possibly my favourite Disney animation, and I personally think it represents the pinnacle of the company's renaissance. With that in mind, I was initially looking forward to seeing the live action adaption when it was first announced, but after last year's re-do of The Lion King, any anticipation I had quickly started to dwindle.
Predictably, the finished result is underwhelming. It's not an inherently bad movie, it's entertaining in parts, and has some decent action scenes, but it's nothing more than a padded out re-tread, and it's hard not to think "what's the point?"
The new material implemented literally adds nothing to the plot, and just draws out the experience, verging on boring more than once, and the familiar stuff just lacks the charm of the original. The decision to ground it more in realism is understandable to a degree - the music would have felt out of place in what is essentially a war film - but the lack of the more outlandish characters such as Mushu impacts the films potential, and the side characters we do get aren't memorable. Honestly? There's just not a lot of fun to be found here.
I did think that Yifei Liu was good in the lead role, and I actually also enjoyed Li Hing, who plays a new character who is probably the most interesting part of the whole thing, and is the only addition that has any worth. It was also a nice touch to see Ming-Na Wen appear for a brief cameo.
As I said, it's not necessarily a bad film, it's just feels pointless and kind of dull. It carries a positive message about being true to yourself and not hiding away. I can always appreciate a movie that gives young girls a hero to look up to, and kids will no doubt have a blast, but the overall experience is a wash out otherwise.
Final thought - obviously, no songs in this one, but I'll Make a Man out of You is a banger and should be present, and replacing it with Donnie Yen doing some cool-as-fuck sword tricks isn't going to distract me from that fact. I see through your mind games Disney...
Predictably, the finished result is underwhelming. It's not an inherently bad movie, it's entertaining in parts, and has some decent action scenes, but it's nothing more than a padded out re-tread, and it's hard not to think "what's the point?"
The new material implemented literally adds nothing to the plot, and just draws out the experience, verging on boring more than once, and the familiar stuff just lacks the charm of the original. The decision to ground it more in realism is understandable to a degree - the music would have felt out of place in what is essentially a war film - but the lack of the more outlandish characters such as Mushu impacts the films potential, and the side characters we do get aren't memorable. Honestly? There's just not a lot of fun to be found here.
I did think that Yifei Liu was good in the lead role, and I actually also enjoyed Li Hing, who plays a new character who is probably the most interesting part of the whole thing, and is the only addition that has any worth. It was also a nice touch to see Ming-Na Wen appear for a brief cameo.
As I said, it's not necessarily a bad film, it's just feels pointless and kind of dull. It carries a positive message about being true to yourself and not hiding away. I can always appreciate a movie that gives young girls a hero to look up to, and kids will no doubt have a blast, but the overall experience is a wash out otherwise.
Final thought - obviously, no songs in this one, but I'll Make a Man out of You is a banger and should be present, and replacing it with Donnie Yen doing some cool-as-fuck sword tricks isn't going to distract me from that fact. I see through your mind games Disney...
