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Movie Metropolis (309 KP) rated Jumanji: Welcome to the Jungle (2017) in Movies
Jun 10, 2019
I'm a celebrity... Get me out of here
It’s been 22 years since Joe Johnston thrilled cinemagoers with a little film called Jumanji. Starring the late, great Robin Williams, it has amassed a huge following over the years and has become nearly as loved as its leading star.
What’s surprising given the film’s success is the lack of a sequel. For over 20 years the non-franchise stayed completely dormant until now. Jumanji: Welcome to the Jungle sees Columbia Pictures resurrect this classic property for a high-action, CGI-filled blockbuster. But is it actually any good?
Four high school kids discover an old video game console and are drawn into the game’s jungle setting, literally becoming the adult avatars they chose. What they discover is that you don’t just play Jumanji – you must survive it. To beat the game and return to the real world, they’ll have to go on the most dangerous adventure of their lives, discover what Alan Parrish left 20 years ago, and change the way they think about themselves – or they’ll be stuck in the game forever.
Considering the overwhelmingly negative response to the film’s first trailer, it’s a pleasant surprise to see an enjoyable romp that has likeable characters and some nicely filmed set pieces. The problem is, it really doesn’t feel anything like Jumanji and regularly feels like the producers down at Sony had dollar signs in their eyes more than anything else.
There’s only one reference to its now classic predecessor, an homage to Robin William’s Alan Parrish but this is such a fleeting indication of any connection to the 1995 film, it’s barely noticeable. The film may as well lose the Jumanji tag from its name and be done with it: of course that wouldn’t sell half as many tickets now would it?
Of the school-age characters, none of them make any impact before being sucked into Jumanji, now a video game, and director Jake Kasdan (Bad Teacher) wisely focusses on their avatar characters instead. Dwayne Johnson is always reliable and plays the fish-out-of-water nerd surprisingly well. He also has great chemistry with Kevin Hart and the two share some of the film’s best sequences.
Jack Black is hilarious as his inner female tries to break through at numerous points throughout the movie and Karen Gillan shows particular warmth as the awkward Martha. Nick Jonas also stars in a role originally destined for Tom Holland and continues to prove what a versatile actor he has become.
It’s a pleasant surprise to see an enjoyable romp that has likeable characters and some nicely filmed set pieces.
Jake Kasdan films the action confidently and with visual panache but the CGI at times is left wanting, disappointing in this day and age. A helicopter ride across a rhino-infested canyon is particularly fun to watch and the way in which the writers write the film around video game lore is exciting and makes for a pleasant distraction from an otherwise mediocre script.
What the film does have in abundance however is laughs. Indeed, they are of the Dairylea variety, cheesy, but sometimes that’s exactly what you need. Jumanji: Welcome to the Jungle is a very funny film that knows how to squeeze every last drop of humour from its writing.
It’s also very well paced. Apart from a few lapses in judgement where the screenwriters desperately try to make us feel emotion towards the characters – we don’t – the film really doesn’t have a boring moment to its name and at 119 minutes, that’s a real achievement.
Overall, Jumanji: Welcome to the Jungle is a film that is fun to watch, if a little lacking in originality. All the lead actors perform their roles well, with Jack Black being a particular highlight. Unfortunately, while I’m not usually one for sickly nostalgia, the film really needed to provide a few more tasteful references to its predecessor, especially considering its link to the wonderful Robin Williams.
https://moviemetropolis.net/2017/12/10/jumanji-welcome-to-the-jungle-review-im-a-celebrity-get-me-out-of-here/
What’s surprising given the film’s success is the lack of a sequel. For over 20 years the non-franchise stayed completely dormant until now. Jumanji: Welcome to the Jungle sees Columbia Pictures resurrect this classic property for a high-action, CGI-filled blockbuster. But is it actually any good?
Four high school kids discover an old video game console and are drawn into the game’s jungle setting, literally becoming the adult avatars they chose. What they discover is that you don’t just play Jumanji – you must survive it. To beat the game and return to the real world, they’ll have to go on the most dangerous adventure of their lives, discover what Alan Parrish left 20 years ago, and change the way they think about themselves – or they’ll be stuck in the game forever.
Considering the overwhelmingly negative response to the film’s first trailer, it’s a pleasant surprise to see an enjoyable romp that has likeable characters and some nicely filmed set pieces. The problem is, it really doesn’t feel anything like Jumanji and regularly feels like the producers down at Sony had dollar signs in their eyes more than anything else.
There’s only one reference to its now classic predecessor, an homage to Robin William’s Alan Parrish but this is such a fleeting indication of any connection to the 1995 film, it’s barely noticeable. The film may as well lose the Jumanji tag from its name and be done with it: of course that wouldn’t sell half as many tickets now would it?
Of the school-age characters, none of them make any impact before being sucked into Jumanji, now a video game, and director Jake Kasdan (Bad Teacher) wisely focusses on their avatar characters instead. Dwayne Johnson is always reliable and plays the fish-out-of-water nerd surprisingly well. He also has great chemistry with Kevin Hart and the two share some of the film’s best sequences.
Jack Black is hilarious as his inner female tries to break through at numerous points throughout the movie and Karen Gillan shows particular warmth as the awkward Martha. Nick Jonas also stars in a role originally destined for Tom Holland and continues to prove what a versatile actor he has become.
It’s a pleasant surprise to see an enjoyable romp that has likeable characters and some nicely filmed set pieces.
Jake Kasdan films the action confidently and with visual panache but the CGI at times is left wanting, disappointing in this day and age. A helicopter ride across a rhino-infested canyon is particularly fun to watch and the way in which the writers write the film around video game lore is exciting and makes for a pleasant distraction from an otherwise mediocre script.
What the film does have in abundance however is laughs. Indeed, they are of the Dairylea variety, cheesy, but sometimes that’s exactly what you need. Jumanji: Welcome to the Jungle is a very funny film that knows how to squeeze every last drop of humour from its writing.
It’s also very well paced. Apart from a few lapses in judgement where the screenwriters desperately try to make us feel emotion towards the characters – we don’t – the film really doesn’t have a boring moment to its name and at 119 minutes, that’s a real achievement.
Overall, Jumanji: Welcome to the Jungle is a film that is fun to watch, if a little lacking in originality. All the lead actors perform their roles well, with Jack Black being a particular highlight. Unfortunately, while I’m not usually one for sickly nostalgia, the film really needed to provide a few more tasteful references to its predecessor, especially considering its link to the wonderful Robin Williams.
https://moviemetropolis.net/2017/12/10/jumanji-welcome-to-the-jungle-review-im-a-celebrity-get-me-out-of-here/
Purple Phoenix Games (2266 KP) rated Shuffle Grand Prix in Tabletop Games
Jun 12, 2019 (Updated Jun 12, 2019)
I very rarely reference video games in my reviews. Mostly because I have never really been a big video gamer. I was always more into RPG style video games (Final Fantasy XI ftw), but some styles of video games I also enjoyed quite a bit. Among those were the battle racing style games of Crash Team Racing and Mario Kart. So much fun not only to race to the finish but also to plant traps and equip weapons to slow your opponents’ progress. Such is your plight as you play Shuffle Grand Prix by new-to-the-board-game-scene publisher Games by Bicycle.
DISCLAIMER: While I will not be delving completely into the rulebook and describing every rule and scenario, I will give you a good idea of how the game plays and what I think of it. -T
Okay let’s setup this game in our minds. Shuffle the large deck of Distance Cards (in denominations of 25, 50, 75, and 100 distance) to form a draw deck. Each player will draft a team of racer and co-pilot, which means taking the racer’s deck and co-pilot’s deck to form their team. Each pilot is a different character with different decks and different special abilities that can be used throughout the game. For example, my first team was the wizard and the musician. Place the driver’s character card on top of the wheel (health) card at maximum wheel strength, and tuck the co-pilot’s card underneath them. You cannot use the co-pilot’s ability until they become the driver (when your main pilot spins out due to your opponents and their dastardly play). Now shuffle the driver’s and co-pilot’s decks together (a la Smash Up) to form your personal draw deck, draw three cards, and you are ready to begin!
On your turn you will flip over the top Distance Card and place it in front of yourself. This is how far you have driven this turn, and ultimately is your VP stack. From there you may play cards from your hand to affect your own cards, the cards of your opponents, or place traps. You may equip items to your car (max 2), switch out equipment, or pass your turn ? This structure continues until there are no more Distance Cards to draw, then the game ends and you count Distance to see who is the winner! I have intentionally left some rules out because they are fun to discover and play – like making your opponent spin out (for trophies), nerfing your opponents, card combo play, etc.
Components: this game is relatively light on components as it is a large number of playing cards and a collection of trophy chits. The chits are good quality, and were definitely too numerous for our plays. The cards are of great quality, which is what you expect from Bicycle, the playing card giant. The art in this game is VERY quirky. I wouldn’t say the art is amazing, but it’s fun and fits the theme. Think Munchkin art. In fact, think of this game as a whole as a combination of CTR/Mario Kart meets Munchkin.
Overall, I really dig this game. It’s pretty fast-playing, though those AP-prone players will hold up the game a bit on their turns. The rules are light, the game play is really fun, and the flavor text on the cards is quite humorous. I thought out loud as we were playing that this is a replacement for Munchkin for me, and I like Munchkin a lot. The take-that/screw-your-neighbor aspect is certainly there, but even when you pile on it doesn’t seem to slow you down so much that you can no longer do much on your turn. I appreciate that. The eight provided playable character decks feels like I can play this game for a really long time with different combinations and enjoy it each time. So for the ease of play, enjoyment of play, different combos we are excited to try, and absolute silliness, Purple Phoenix Games gives this one a bashin’ 14 / 18. Check it out!
https://purplephoenixgames.wordpress.com/2019/06/06/shuffle-grand-prix-review/
DISCLAIMER: While I will not be delving completely into the rulebook and describing every rule and scenario, I will give you a good idea of how the game plays and what I think of it. -T
Okay let’s setup this game in our minds. Shuffle the large deck of Distance Cards (in denominations of 25, 50, 75, and 100 distance) to form a draw deck. Each player will draft a team of racer and co-pilot, which means taking the racer’s deck and co-pilot’s deck to form their team. Each pilot is a different character with different decks and different special abilities that can be used throughout the game. For example, my first team was the wizard and the musician. Place the driver’s character card on top of the wheel (health) card at maximum wheel strength, and tuck the co-pilot’s card underneath them. You cannot use the co-pilot’s ability until they become the driver (when your main pilot spins out due to your opponents and their dastardly play). Now shuffle the driver’s and co-pilot’s decks together (a la Smash Up) to form your personal draw deck, draw three cards, and you are ready to begin!
On your turn you will flip over the top Distance Card and place it in front of yourself. This is how far you have driven this turn, and ultimately is your VP stack. From there you may play cards from your hand to affect your own cards, the cards of your opponents, or place traps. You may equip items to your car (max 2), switch out equipment, or pass your turn ? This structure continues until there are no more Distance Cards to draw, then the game ends and you count Distance to see who is the winner! I have intentionally left some rules out because they are fun to discover and play – like making your opponent spin out (for trophies), nerfing your opponents, card combo play, etc.
Components: this game is relatively light on components as it is a large number of playing cards and a collection of trophy chits. The chits are good quality, and were definitely too numerous for our plays. The cards are of great quality, which is what you expect from Bicycle, the playing card giant. The art in this game is VERY quirky. I wouldn’t say the art is amazing, but it’s fun and fits the theme. Think Munchkin art. In fact, think of this game as a whole as a combination of CTR/Mario Kart meets Munchkin.
Overall, I really dig this game. It’s pretty fast-playing, though those AP-prone players will hold up the game a bit on their turns. The rules are light, the game play is really fun, and the flavor text on the cards is quite humorous. I thought out loud as we were playing that this is a replacement for Munchkin for me, and I like Munchkin a lot. The take-that/screw-your-neighbor aspect is certainly there, but even when you pile on it doesn’t seem to slow you down so much that you can no longer do much on your turn. I appreciate that. The eight provided playable character decks feels like I can play this game for a really long time with different combinations and enjoy it each time. So for the ease of play, enjoyment of play, different combos we are excited to try, and absolute silliness, Purple Phoenix Games gives this one a bashin’ 14 / 18. Check it out!
https://purplephoenixgames.wordpress.com/2019/06/06/shuffle-grand-prix-review/
Purple Phoenix Games (2266 KP) rated Cthulhu Realms in Tabletop Games
Jun 12, 2019
Cthulhu – a theme that is deeply rooted in the board gaming world. There are SO MANY Cthulhu-based games and spin-offs of standard games. Some people really dig the theme, and some people really don’t. So where does this particular game fall on the spectrum? Keep reading to find out!
In Cthulhu Realms, a deck-building game, you are a Cthulhu cultist that is trying to drive your rivals literally insane. By gathering followers, collecting artifacts, and discovering new locations, you will gain enough power to influence the sanity of those who would oppose you! On your turn, you will play cards from your hand to Conjure (acquire new cards from the communal pool), Draw/Discard cards, Gain/Lose Sanity, or Abjure (permanently discard cards from the game). The game ends when a player is reduced to zero sanity – and the player who has retained their sanity is the winner!
I love deck-building games. I really do. I think it’s a neat mechanic that allows you to customize your strategy with every play. So I enjoy playing Cthulhu Realms because of that element. And that’s kind of where my enjoyment ends with this game. Don’t get me wrong – it’s a decent game. I just have a couple of issues with the actual cards and abilities. The cards themselves are very reliant on iconography to communicate powers/abilities. Props to the player boards for having a quick reference for the basic actions, but I still always keep the rule sheet on hand for the in-depth explanation as I play. And even then, the rule sheet still has a bit of ambiguity on how some of the powers work. I wish they’d provided a couple of examples because sometimes I still get confused by certain combinations of icons. Just a little more detail in the rule sheet could alleviate some of the ambiguity of the icon abilities.
For card abilities, each individual card can have anywhere from 1-3 special abilities. The tricky thing is that the abilities do not all have to be used at the same time. So I could use 1 ability from a card, use an ability from a different card, and then come back to my first card and use another of it’s printed abilities. And with a hand of 5 cards every turn (not counting additional cards you may draw…), it can be hard to keep track of which abilities you’ve already used that turn. On top of that, many of the abilities have prerequisites – you can’t use that specific ability unless you’ve already played/have in play the requisite card. Some abilities only have 1 prerequisite, but some have 2, which just adds another layer of bookkeeping to your turns. Not only are you trying to remember which card abilities you’ve already used, but you’re also trying to keep track of your cards/actions that turn that could unlock other card abilities. The rule sheet suggests sliding a card to one side of your play area once you’ve used one of its powers. But again, if it has more than 1 ability on it, you’ve got to remember which ones you’ve used/haven’t used yet, regardless of where they are in your play area. This is a competitive game overall, but with all of these elements to track on your turns, it saps the tension from the game and makes it feel a little more luck-based than strategic.
To alleviate some of my grievances, I think the game could just have more cards with fewer abilities on each. That would make it much easier to execute all of your turns. And eliminate some of the ability prerequisites – having them on most of the abilities just adds another element for you to keep track of, and it feels a little unnecessary. If the turns were a little more clear and concise, I would like this game a lot more. It’s not bad, it just gets bogged down a little bit with too much action on your turns. That’s why Purple Phoenix Games gives Cthulhu Realms a 6/12.
https://purplephoenixgames.wordpress.com/2019/03/22/cthulhu-realms-review/
In Cthulhu Realms, a deck-building game, you are a Cthulhu cultist that is trying to drive your rivals literally insane. By gathering followers, collecting artifacts, and discovering new locations, you will gain enough power to influence the sanity of those who would oppose you! On your turn, you will play cards from your hand to Conjure (acquire new cards from the communal pool), Draw/Discard cards, Gain/Lose Sanity, or Abjure (permanently discard cards from the game). The game ends when a player is reduced to zero sanity – and the player who has retained their sanity is the winner!
I love deck-building games. I really do. I think it’s a neat mechanic that allows you to customize your strategy with every play. So I enjoy playing Cthulhu Realms because of that element. And that’s kind of where my enjoyment ends with this game. Don’t get me wrong – it’s a decent game. I just have a couple of issues with the actual cards and abilities. The cards themselves are very reliant on iconography to communicate powers/abilities. Props to the player boards for having a quick reference for the basic actions, but I still always keep the rule sheet on hand for the in-depth explanation as I play. And even then, the rule sheet still has a bit of ambiguity on how some of the powers work. I wish they’d provided a couple of examples because sometimes I still get confused by certain combinations of icons. Just a little more detail in the rule sheet could alleviate some of the ambiguity of the icon abilities.
For card abilities, each individual card can have anywhere from 1-3 special abilities. The tricky thing is that the abilities do not all have to be used at the same time. So I could use 1 ability from a card, use an ability from a different card, and then come back to my first card and use another of it’s printed abilities. And with a hand of 5 cards every turn (not counting additional cards you may draw…), it can be hard to keep track of which abilities you’ve already used that turn. On top of that, many of the abilities have prerequisites – you can’t use that specific ability unless you’ve already played/have in play the requisite card. Some abilities only have 1 prerequisite, but some have 2, which just adds another layer of bookkeeping to your turns. Not only are you trying to remember which card abilities you’ve already used, but you’re also trying to keep track of your cards/actions that turn that could unlock other card abilities. The rule sheet suggests sliding a card to one side of your play area once you’ve used one of its powers. But again, if it has more than 1 ability on it, you’ve got to remember which ones you’ve used/haven’t used yet, regardless of where they are in your play area. This is a competitive game overall, but with all of these elements to track on your turns, it saps the tension from the game and makes it feel a little more luck-based than strategic.
To alleviate some of my grievances, I think the game could just have more cards with fewer abilities on each. That would make it much easier to execute all of your turns. And eliminate some of the ability prerequisites – having them on most of the abilities just adds another element for you to keep track of, and it feels a little unnecessary. If the turns were a little more clear and concise, I would like this game a lot more. It’s not bad, it just gets bogged down a little bit with too much action on your turns. That’s why Purple Phoenix Games gives Cthulhu Realms a 6/12.
https://purplephoenixgames.wordpress.com/2019/03/22/cthulhu-realms-review/
Hazel (1853 KP) rated God: A Human History in Books
Dec 7, 2018
<i>I received this book for free through Goodreads First Reads.
</i>
Where did religion come from? This is the question Reza Aslan, a scholar of religions, attempts to answer in his latest publication, <i>God: A Human History.</i> To date, Aslan has tackled subjects such as the life of Jesus of Nazareth, and the origins, evolution and future of Islam. In this book, the author journeys back to the earliest evidence of human existence and, using a mix of resources, theories and investigations, tries to determine how our ancestors conceived the idea of gods and souls. Maintaining the idea that the majority of humans think of God as a divine version of ourselves, Aslan also looks at the way our perception of life after death has altered due to the changes in our governments and cultures.
Reza Aslan claims that he, a Muslim-devout-Christian-convert-turned-Sufi, is neither trying to prove or disprove the existence of God or gods. Instead, he is providing readers with a thorough history of religion with a strong suggestion that we, as believers, have fashioned God in our image, and not the other way around.
Insisting that belief systems are inherited from each previous generation, Aslan takes a look at ancient cave drawings where he, and many other theorists, surmise that a form of religion was already well underway. Lack of written word results in a lot of speculation and hypothesis as to what these, usually animal-like, drawings represent, however, many have come to the conclusion that early humans had some form of animistic belief system.
Although not a dig at religion, after all, the author is religious himself, the following chapters bring in to question the authenticity of past and present beliefs. With reference to various psychologists, Aslan poses the theory that ancient humans may have misinterpreted dreams as evidence of a spirit realm. With no one qualified to clarify the things they did not understand, anything without a clear explanation may have been attributed to a god or gods.
As the author describes how religious ideas may have developed from these primitive beliefs to the fully detailed faiths of today, he labels the human race as anthropocentric creatures that have based their religions on human traits and emotions. By reporting in this way, it comes across that the past ideas of the soul, spiritual realms, gods and so forth could not possibly be true, yet, as the final chapters suggest, Aslan is still adamant about the existence of God.
Aslan’s narrative speeds up, finally reaching the recognizable religions of today. Beginning with the Israelites, enslaved by the Egyptians, the author explains, using biblical references, how the first successful monotheistic religion came about. However, researchers have studied the early Bible texts and are inconclusive as to whether the God worshipped by the Jews was the only divine being or whether there were others of a similar standing.
Next, Aslan explores Christianity, posing more questions than he solves, for example, is God one or is God three (i.e. the Holy Trinity)? He defines and compares the definitions of monotheism and pantheism, eventually bringing in Islam and the development of Sufism, which he is not afraid of admitting he agrees with.
<i>God: A Human History </i>is disappointingly short, ending with the feeble conclusion that humans are born with the ability to be convinced of the existence of a divine being and the soul, but it is our own choice to decide whether or not to believe in them. The remaining third of the book is an abundance of notes on the texts, bibliographical references, and Reza Aslan’s personal opinions about the ideas and theories mentioned in his history of religion.
Although an extensive history on the origins of religion, <i>God: A Human History </i>leaves readers none the wiser as to whether their belief is founded in truth or whether it is something that has evolved over time due to lack of understanding about the world. Granted, it was not the aim of the book to prove or disprove the existence of God, however, it may unintentionally sow seeds of doubt or, potentially, anger devout believers. However, there is no attempt at persuading readers to believe one thing or another, thus making it suitable for people of all religion and none.
</i>
Where did religion come from? This is the question Reza Aslan, a scholar of religions, attempts to answer in his latest publication, <i>God: A Human History.</i> To date, Aslan has tackled subjects such as the life of Jesus of Nazareth, and the origins, evolution and future of Islam. In this book, the author journeys back to the earliest evidence of human existence and, using a mix of resources, theories and investigations, tries to determine how our ancestors conceived the idea of gods and souls. Maintaining the idea that the majority of humans think of God as a divine version of ourselves, Aslan also looks at the way our perception of life after death has altered due to the changes in our governments and cultures.
Reza Aslan claims that he, a Muslim-devout-Christian-convert-turned-Sufi, is neither trying to prove or disprove the existence of God or gods. Instead, he is providing readers with a thorough history of religion with a strong suggestion that we, as believers, have fashioned God in our image, and not the other way around.
Insisting that belief systems are inherited from each previous generation, Aslan takes a look at ancient cave drawings where he, and many other theorists, surmise that a form of religion was already well underway. Lack of written word results in a lot of speculation and hypothesis as to what these, usually animal-like, drawings represent, however, many have come to the conclusion that early humans had some form of animistic belief system.
Although not a dig at religion, after all, the author is religious himself, the following chapters bring in to question the authenticity of past and present beliefs. With reference to various psychologists, Aslan poses the theory that ancient humans may have misinterpreted dreams as evidence of a spirit realm. With no one qualified to clarify the things they did not understand, anything without a clear explanation may have been attributed to a god or gods.
As the author describes how religious ideas may have developed from these primitive beliefs to the fully detailed faiths of today, he labels the human race as anthropocentric creatures that have based their religions on human traits and emotions. By reporting in this way, it comes across that the past ideas of the soul, spiritual realms, gods and so forth could not possibly be true, yet, as the final chapters suggest, Aslan is still adamant about the existence of God.
Aslan’s narrative speeds up, finally reaching the recognizable religions of today. Beginning with the Israelites, enslaved by the Egyptians, the author explains, using biblical references, how the first successful monotheistic religion came about. However, researchers have studied the early Bible texts and are inconclusive as to whether the God worshipped by the Jews was the only divine being or whether there were others of a similar standing.
Next, Aslan explores Christianity, posing more questions than he solves, for example, is God one or is God three (i.e. the Holy Trinity)? He defines and compares the definitions of monotheism and pantheism, eventually bringing in Islam and the development of Sufism, which he is not afraid of admitting he agrees with.
<i>God: A Human History </i>is disappointingly short, ending with the feeble conclusion that humans are born with the ability to be convinced of the existence of a divine being and the soul, but it is our own choice to decide whether or not to believe in them. The remaining third of the book is an abundance of notes on the texts, bibliographical references, and Reza Aslan’s personal opinions about the ideas and theories mentioned in his history of religion.
Although an extensive history on the origins of religion, <i>God: A Human History </i>leaves readers none the wiser as to whether their belief is founded in truth or whether it is something that has evolved over time due to lack of understanding about the world. Granted, it was not the aim of the book to prove or disprove the existence of God, however, it may unintentionally sow seeds of doubt or, potentially, anger devout believers. However, there is no attempt at persuading readers to believe one thing or another, thus making it suitable for people of all religion and none.
Emma @ The Movies (1786 KP) rated Joker (2019) in Movies
Dec 8, 2019
Contains spoilers, click to show
Had this been released on any regular week I'd have seen Joker the day it came out and not been overly bothered by the Twitter frenzy that happened in the aftermath of the opening... but, Joker came out two days into the London Film Festival and that meant I couldn't see it straight away. I ended up taking a day off in the middle of it and going out to have a regular cinema outing, it was only 6 days after release but the barrage of feedback online was enough to make me bored at the thought of seeing it.
I do not know how to do this review. It's not that I don't have things to say about it, because I do, but there's a lot of grumbling. I'm going to try bullet pointing it as it covers things that cross audience feedback with moaning.
• What is real? We see the Sophie shots replayed without her in them and we realise he imagined it but we also know that he's imagined other things... everything could be a twist on reality.
• I did not assume that the man with Bruce at home was Alfred.
• I would not have found it unbelievable had Arthur and Sophie been a couple.
• This film could easily have been a pre-origin story for the Joker character.
• I know Arthur needs every push to make the story progress but I don't see that Thomas Wayne needed to be that aggressive.
• Wouldn't it have been good if this film made no reference to anything Batman/Joker related and the first time we're actually shown the connection is in that iconic alley scene?
So there are the things I had thoughts, they all have me waffling on for ages when I voice them out loud.
Joaquin Phoenix really commits to the journey of Arthur and it's an incredible depiction. I'm not so bothered about the violence in the movie, what disturbed me more was how Phoenix manages to laugh without it showing on his face... that was chilling. Everything crafted around him really shows his life, the way he's captured in the shots, the way you see the darker side taking over him, you can see it in every scene. It's uncomfortable to watch him sometimes, but that's the way it needs to be.
As an environment you can feel the dirt and the story of the city really comes through in everything you see. There's a very clear divide between rich and poor and I really thought the sets and costumes worked perfectly.
I'm going to mention the song... it worked perfectly in the scene, it had the right tone for it and I thought it was very effective. As you look down the rest of the tracklisting it was nice to see that everything had a very theatrical leaning.
When we get to the point where Arthur, now under the guise of Joker, appears on Murray's talk show there's an element of uncertainty about what's going to happen. The escalation is chilling and when he starts his speech you can feel the change in him. That speech had a moment of understanding in it before you remember everything we've just seen. I would happily have seen the film end with that test card.
What happens after this is a big piece that feels like hallucination moments rather than real ones. I really didn't need that... BUT... it did bring us to that iconic alleyway scene. It was perfectly captured and would have been amazing if we saw the clown slip into the alleyway and then... no pearls. I groaned when I saw that. I'm fed up with it, it took that tense moment and could have left you with that sense of knowing without hitting you with that now rather common slap in the face of an image.
Unlike other films I still don't have a very clear idea of how I feel about this film, there are lots of issues I had with it but then there's that brilliant performance from Joaquin Phoenix. I'm sure this needs another viewing, but even then I'm not sure I'd be totally certain about how I felt.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/11/joker-spoilers-movie-review.html
I do not know how to do this review. It's not that I don't have things to say about it, because I do, but there's a lot of grumbling. I'm going to try bullet pointing it as it covers things that cross audience feedback with moaning.
• What is real? We see the Sophie shots replayed without her in them and we realise he imagined it but we also know that he's imagined other things... everything could be a twist on reality.
• I did not assume that the man with Bruce at home was Alfred.
• I would not have found it unbelievable had Arthur and Sophie been a couple.
• This film could easily have been a pre-origin story for the Joker character.
• I know Arthur needs every push to make the story progress but I don't see that Thomas Wayne needed to be that aggressive.
• Wouldn't it have been good if this film made no reference to anything Batman/Joker related and the first time we're actually shown the connection is in that iconic alley scene?
So there are the things I had thoughts, they all have me waffling on for ages when I voice them out loud.
Joaquin Phoenix really commits to the journey of Arthur and it's an incredible depiction. I'm not so bothered about the violence in the movie, what disturbed me more was how Phoenix manages to laugh without it showing on his face... that was chilling. Everything crafted around him really shows his life, the way he's captured in the shots, the way you see the darker side taking over him, you can see it in every scene. It's uncomfortable to watch him sometimes, but that's the way it needs to be.
As an environment you can feel the dirt and the story of the city really comes through in everything you see. There's a very clear divide between rich and poor and I really thought the sets and costumes worked perfectly.
I'm going to mention the song... it worked perfectly in the scene, it had the right tone for it and I thought it was very effective. As you look down the rest of the tracklisting it was nice to see that everything had a very theatrical leaning.
When we get to the point where Arthur, now under the guise of Joker, appears on Murray's talk show there's an element of uncertainty about what's going to happen. The escalation is chilling and when he starts his speech you can feel the change in him. That speech had a moment of understanding in it before you remember everything we've just seen. I would happily have seen the film end with that test card.
What happens after this is a big piece that feels like hallucination moments rather than real ones. I really didn't need that... BUT... it did bring us to that iconic alleyway scene. It was perfectly captured and would have been amazing if we saw the clown slip into the alleyway and then... no pearls. I groaned when I saw that. I'm fed up with it, it took that tense moment and could have left you with that sense of knowing without hitting you with that now rather common slap in the face of an image.
Unlike other films I still don't have a very clear idea of how I feel about this film, there are lots of issues I had with it but then there's that brilliant performance from Joaquin Phoenix. I'm sure this needs another viewing, but even then I'm not sure I'd be totally certain about how I felt.
Originally posted on: https://emmaatthemovies.blogspot.com/2019/11/joker-spoilers-movie-review.html
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