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RəX Regent (349 KP) rated Godzilla (1954) in Movies
Feb 25, 2019
The beginning was inspired...
Contains spoilers, click to show
I was first introduced to Godzilla in cartoon form in the 1980′s as a child, but it wasn't until 1998, with Roland Emmerich's blockbuster reboot that I had seen the infamous beast on the pearl screen. I had also seem bits and bobs of the many original sequels as a child and they had made absolutely no impact on me what so ever! But I became aware of the significance of this, the original, only recently and it was due to this discovery that I hunted down the best copy available.
I ended up with the 2005 Region 1 release, which also includes the U.S. reworking from 1956, Godzilla: King Of The Monsters!. I could not have imagined that a the 1954 version of Godzilla, or more literally, Gojira, could have been so mature, so sombre, or so tempered with its sledgehammer philosophising. Produced just nine years after the devastating nuclear bombings of Hiroshima and Nagasaki, which effectively ended the Second World War, Gojira takes up the mantle on doing what Science Fiction does best, and created the cypher in the form of Godzilla, to represent the devastation left over from the nuking of these cities.
Godzilla is a nuclear beast, affected by U.S. nuclear tests and is now toxically radioactive and upon landfall on Tokyo, rains down, literally, nuclear destruction up on the city, in a manner not dissimilar too that levied upon either of the cities, Hiroshima or Nagasaki. But its not just about that. It about the creation of the next WMD which would ultimately be used against Godzilla but poses and moral dilemma that Robert Oppenheimer himself would appreciate, as to whether such a creation should be allowed to be developed. It also looks quite seriously into establishing the potential evolution of a creature such as Godzilla and uses plausible palaeontological arguments to justify his existence.
The pacing was good and though Godzilla strikes from almost the opening frame, there is a sense of an ongoing crisis rather than an impending apocalypse, with news outlets reporting throughout as plans, both military and civilian are sited.
All in all, this is not just the birth of the massive and largely corny and cheap Godzilla series, it is a striking, intelligent, moving and incredibly well judged masterpiece of 50′s cinema. But I should have known. Most rubbish franchises began with an inspired first movie, something to break the mould and this does the job perfectly.
But it isn't without its flaws. The special effects, though not all bad, are below par even for the time, but effective as for telling the story, some were very good with ALL being well conceived and ambitious. Some were very poor though, such as the model ships, which were unnecessarily below the standards and look like bath toys. But the cinematography was wonderful, with Honda shooting this in a classically manner. Tension was built brilliantly and the action rose to several crescendos and the excellent score by Akira Ifukube was not overused but brought to perfect effect when needed.
The acting was first-rate as well, proving Japanese cinemas reputation. But this was my first real foray into Japanese cinema, and what a treat it was. Many would look at this and see a cheap old film and others will see a film that whist let down by some less that brilliant visual effects and the fact that a lot of people, certainly in the U.K. find subtitles difficult, as a masterpiece not only of Eastern cinema but of cinema full stop. Truly realising its narrative and spirit, its cause and message. This was about a county in mourning not only for the hundreds of thousands lost by Fat Man and Little Boy, but for the war full stop. The 1950′s were a time of great political fear and reconstruction after WW2, and this is a film which taps into the brewing Cold War and fear of annihilation from human behemoths which once released can never be returned.
HIGHLY recommended but not for children as they will bore, miss the point, get put off by the subtitles, black and white and quite frankly its a mature and bleak film and not the 1998 remake. And thank God or Godzilla for that!
I ended up with the 2005 Region 1 release, which also includes the U.S. reworking from 1956, Godzilla: King Of The Monsters!. I could not have imagined that a the 1954 version of Godzilla, or more literally, Gojira, could have been so mature, so sombre, or so tempered with its sledgehammer philosophising. Produced just nine years after the devastating nuclear bombings of Hiroshima and Nagasaki, which effectively ended the Second World War, Gojira takes up the mantle on doing what Science Fiction does best, and created the cypher in the form of Godzilla, to represent the devastation left over from the nuking of these cities.
Godzilla is a nuclear beast, affected by U.S. nuclear tests and is now toxically radioactive and upon landfall on Tokyo, rains down, literally, nuclear destruction up on the city, in a manner not dissimilar too that levied upon either of the cities, Hiroshima or Nagasaki. But its not just about that. It about the creation of the next WMD which would ultimately be used against Godzilla but poses and moral dilemma that Robert Oppenheimer himself would appreciate, as to whether such a creation should be allowed to be developed. It also looks quite seriously into establishing the potential evolution of a creature such as Godzilla and uses plausible palaeontological arguments to justify his existence.
The pacing was good and though Godzilla strikes from almost the opening frame, there is a sense of an ongoing crisis rather than an impending apocalypse, with news outlets reporting throughout as plans, both military and civilian are sited.
All in all, this is not just the birth of the massive and largely corny and cheap Godzilla series, it is a striking, intelligent, moving and incredibly well judged masterpiece of 50′s cinema. But I should have known. Most rubbish franchises began with an inspired first movie, something to break the mould and this does the job perfectly.
But it isn't without its flaws. The special effects, though not all bad, are below par even for the time, but effective as for telling the story, some were very good with ALL being well conceived and ambitious. Some were very poor though, such as the model ships, which were unnecessarily below the standards and look like bath toys. But the cinematography was wonderful, with Honda shooting this in a classically manner. Tension was built brilliantly and the action rose to several crescendos and the excellent score by Akira Ifukube was not overused but brought to perfect effect when needed.
The acting was first-rate as well, proving Japanese cinemas reputation. But this was my first real foray into Japanese cinema, and what a treat it was. Many would look at this and see a cheap old film and others will see a film that whist let down by some less that brilliant visual effects and the fact that a lot of people, certainly in the U.K. find subtitles difficult, as a masterpiece not only of Eastern cinema but of cinema full stop. Truly realising its narrative and spirit, its cause and message. This was about a county in mourning not only for the hundreds of thousands lost by Fat Man and Little Boy, but for the war full stop. The 1950′s were a time of great political fear and reconstruction after WW2, and this is a film which taps into the brewing Cold War and fear of annihilation from human behemoths which once released can never be returned.
HIGHLY recommended but not for children as they will bore, miss the point, get put off by the subtitles, black and white and quite frankly its a mature and bleak film and not the 1998 remake. And thank God or Godzilla for that!
Movie Metropolis (309 KP) rated Christopher Robin (2018) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
A Future Classic
The characters of Pooh, Eeyore, Piglet and Tigger are synonymous with the childhood of millions of adults across the globe. A.A. Milne’s classic creatures are etched into the memories of many, passed down through generations with tatty old story books and stuffed animals.
Their film history is a little more chequered. True box-office domination has eluded the little critters, until now at least. Rolling off the success of Paddington and its arguably even better sequel, Disney gets in on the action, the live-action that is, and brings Pooh and co to life in Christopher Robin. But does it work?
Christopher Robin (Ewan McGregor) – now a family man living in London – receives a surprise visit from his old childhood pal, Winnie-the-Pooh. With Christopher’s help, Pooh embarks on a journey to find his friends — Tigger, Eeyore, Owl, Piglet, Rabbit, Kanga and Roo. Once reunited, the lovable bear and the gang travel to London to help Christopher rediscover the joy of life.
With Marc Forster’s name attached to directing duties, you’d be forgiven for thinking he’d been hired simply to get the job done. After all, this is the same Marc Forster that brought us the perfectly adequate Quantum of Solace and the enjoyable if undistinguished World War Z. These aren’t the directing credits you’d expect when looking at a film involving a honey-loving bear in a red jumper.
Nevertheless, Forster proves us wrong. Christopher Robin is a sumptuous tale, beautifully realised with a script that makes us stop and look at the little things in life. Much like the film itself as it happens. Ewan McGregor was the ideal choice to play a world-weary Robin. At the brink of exhaustion and close to losing the truly important things in life – his wife (Hayley Atwell) and daughter (Bronte Carmichael), McGregor plays the part beautifully. Watching his inner-child slowly but surely rise to the surface is wonderful to see.
Elsewhere, the entire cast of voices used to bring our cuddly cast to life are absolutely spot on. Jim Cummings’ return as Pooh and Tigger brings a warm familiarity to proceedings and this was a nice touch by Disney to have him back behind the microphone. Toby Jones and former Doctor Who Peter Capaldi are also great as Owl and Rabbit respectively. Brad Garrett’s turn as Eeyore really couldn’t be more perfect.
Christopher Robin…is sure to be a future classic that can be passed down for generations
To look at, Christopher Robin really is sublime. The spectacular Sussex countryside is brought to life in the Hundred Acre Wood and the post-war setting of London lives and breathes right before your eyes. This is a film that draws you in as the script moves our cast from 1940s London, rich with smoke and smog, to lush countryside, heavy with dew and dripping in colour.
The CGI to bring Pooh, Piglet, Eeyore, Tigger, Kanga, Roo, Owl and Rabbit to life is nothing short of astounding. The way their fur moves in the wind feels so real and it is this depth that proves to be the film’s strongest suit. Using Disney’s seemingly unending source of funds, Marc Foster and his team have managed to create something truly astonishing.
Above all though, this is a film about the importance of family, and on that level it succeeds, and then some. While brief, the moments in which we see McGregor and his family spending time together, with Pooh and company in tow, are Christopher Robin’s most poignant. In typical Disney fashion, the film tugs on the heartstrings on more than one occasion, just enough to wipe away a solitary tear, but not enough to dig out the Kleenex.
Christopher Robin is another success for Disney’s live-action arm. With understated performances, very much similar to 2016’s remake of Pete’s Dragon, the House of Mouse has achieved something rather extraordinary. Yes, they’ve brought these wonderful characters back to life, but in a way that honours the books and stuffed animals we will have all grown up with. Unlike this year’s Peter Rabbit that destroyed the legacy of a much-loved literary character, Christopher Robin builds on that and is sure to be a future classic that can be passed down for generations.
https://moviemetropolis.net/2018/08/18/christopher-robin-review-a-future-classic/
Their film history is a little more chequered. True box-office domination has eluded the little critters, until now at least. Rolling off the success of Paddington and its arguably even better sequel, Disney gets in on the action, the live-action that is, and brings Pooh and co to life in Christopher Robin. But does it work?
Christopher Robin (Ewan McGregor) – now a family man living in London – receives a surprise visit from his old childhood pal, Winnie-the-Pooh. With Christopher’s help, Pooh embarks on a journey to find his friends — Tigger, Eeyore, Owl, Piglet, Rabbit, Kanga and Roo. Once reunited, the lovable bear and the gang travel to London to help Christopher rediscover the joy of life.
With Marc Forster’s name attached to directing duties, you’d be forgiven for thinking he’d been hired simply to get the job done. After all, this is the same Marc Forster that brought us the perfectly adequate Quantum of Solace and the enjoyable if undistinguished World War Z. These aren’t the directing credits you’d expect when looking at a film involving a honey-loving bear in a red jumper.
Nevertheless, Forster proves us wrong. Christopher Robin is a sumptuous tale, beautifully realised with a script that makes us stop and look at the little things in life. Much like the film itself as it happens. Ewan McGregor was the ideal choice to play a world-weary Robin. At the brink of exhaustion and close to losing the truly important things in life – his wife (Hayley Atwell) and daughter (Bronte Carmichael), McGregor plays the part beautifully. Watching his inner-child slowly but surely rise to the surface is wonderful to see.
Elsewhere, the entire cast of voices used to bring our cuddly cast to life are absolutely spot on. Jim Cummings’ return as Pooh and Tigger brings a warm familiarity to proceedings and this was a nice touch by Disney to have him back behind the microphone. Toby Jones and former Doctor Who Peter Capaldi are also great as Owl and Rabbit respectively. Brad Garrett’s turn as Eeyore really couldn’t be more perfect.
Christopher Robin…is sure to be a future classic that can be passed down for generations
To look at, Christopher Robin really is sublime. The spectacular Sussex countryside is brought to life in the Hundred Acre Wood and the post-war setting of London lives and breathes right before your eyes. This is a film that draws you in as the script moves our cast from 1940s London, rich with smoke and smog, to lush countryside, heavy with dew and dripping in colour.
The CGI to bring Pooh, Piglet, Eeyore, Tigger, Kanga, Roo, Owl and Rabbit to life is nothing short of astounding. The way their fur moves in the wind feels so real and it is this depth that proves to be the film’s strongest suit. Using Disney’s seemingly unending source of funds, Marc Foster and his team have managed to create something truly astonishing.
Above all though, this is a film about the importance of family, and on that level it succeeds, and then some. While brief, the moments in which we see McGregor and his family spending time together, with Pooh and company in tow, are Christopher Robin’s most poignant. In typical Disney fashion, the film tugs on the heartstrings on more than one occasion, just enough to wipe away a solitary tear, but not enough to dig out the Kleenex.
Christopher Robin is another success for Disney’s live-action arm. With understated performances, very much similar to 2016’s remake of Pete’s Dragon, the House of Mouse has achieved something rather extraordinary. Yes, they’ve brought these wonderful characters back to life, but in a way that honours the books and stuffed animals we will have all grown up with. Unlike this year’s Peter Rabbit that destroyed the legacy of a much-loved literary character, Christopher Robin builds on that and is sure to be a future classic that can be passed down for generations.
https://moviemetropolis.net/2018/08/18/christopher-robin-review-a-future-classic/
Lucy Buglass (45 KP) rated A Star Is Born (2018) in Movies
Jun 20, 2019
A haunting look at fame, love and addiction
As a fan of both Lady Gaga and Bradley Cooper, I was intrigued when a new remake of A Star Is Born was announced. Despite not having seen either of its predecessors, I vaguely knew what the story was about and was interested by the chosen pairing, especially since this is Cooper’s directorial debut. I went into this film with an open heart and mind.
Whilst I rate both of their performances highly, it was Gaga who really stood out to me. Despite the fact she’s a very famous, very well-respected artist in real life, when I watched the film, I saw her character, Ally, and not Lady Gaga. She truly brought Ally to life on-screen, showing us the highs and lows of a former ‘average girl’ turned superstar. She was absolutely fantastic. I could really feel everything Ally was feeling, from elation to pain. I adored her performance and it kept me hooked throughout. Unsurprisingly, her vocals were stunning too, and listening to her performances on the big screen was a real treat. She is so utterly talented and has proven she can go far beyond her singing career, and into new territories.
A Star Is Born features some great cameos too; mainly RuPaul’s Drag Race stars Willam Belli and Shangela. It was really cool to see them in a feature film, and I loved what they brought to the story. Their relationship with Ally, especially, was really lovely and highlights the inclusivity most of us strive to achieve in modern society. Their characters meant a lot to me.
In terms of Cooper’s portrayal of Jackson, he was also very convincing as an aging star battling addiction. What I loved most about his character was the sheer complexity of it, and how you didn’t know whether to feel sorry for him or berate him. The opinion of Jackson is left entirely up to the viewer, and I really respected that about the film. It has opened a lot of debates about his character’s behaviour, and it’s wonderful when a film causes audiences to do that. He is clearly very troubled but that doesn’t always excuse some of his appalling behaviour, which is presented to us in a very raw and honest way. Because of this, the film is not an easy watch, but I believe it’s an important one all the same. It was also wonderful to hear him sing, as he has a stunning voice that complements Gaga’s throughout. Together, they’ve really made something special. I’ve been listening to the soundtrack a lot since seeing the film.
I also loved the contrast in visual style throughout A Star Is Born. The choice of set design, lighting and colours perfectly reflect what the characters are feeling in that moment in time. We go from glamorous performances on stage, to grittier, intense territories. I was certainly impressed by Cooper’s first film and look forward to seeing where his journey towards directing will take him next. He’s put so much work into this and it really has paid off, giving us an emotional, heartfelt and honest story. If you’re wondering if I cried at any point, the answer is yes. That final song though…
A Star Is Born gives us an honest look into the darker side of fame, the highs and lows, what goes on behind the scenes, all of it. Whilst most of us aren’t ignorant about the fact these issues go on, this film really presents them to us in a brilliant way. The songs themselves are a huge part of this, telling their own stories and adding to the characters’ mindset. The lyrics are fantastic, and bring so much to the film. Listen closely and it’ll be easy to see why. I would definitely recommend it even if you’re not usually a lover of musical film, based on the story alone. It’s a rollercoaster of emotions from start to finish.
https://lucygoestohollywood.com/2018/10/14/a-haunting-look-at-fame-love-and-addiction-my-thoughts-on-a-star-is-born/
Whilst I rate both of their performances highly, it was Gaga who really stood out to me. Despite the fact she’s a very famous, very well-respected artist in real life, when I watched the film, I saw her character, Ally, and not Lady Gaga. She truly brought Ally to life on-screen, showing us the highs and lows of a former ‘average girl’ turned superstar. She was absolutely fantastic. I could really feel everything Ally was feeling, from elation to pain. I adored her performance and it kept me hooked throughout. Unsurprisingly, her vocals were stunning too, and listening to her performances on the big screen was a real treat. She is so utterly talented and has proven she can go far beyond her singing career, and into new territories.
A Star Is Born features some great cameos too; mainly RuPaul’s Drag Race stars Willam Belli and Shangela. It was really cool to see them in a feature film, and I loved what they brought to the story. Their relationship with Ally, especially, was really lovely and highlights the inclusivity most of us strive to achieve in modern society. Their characters meant a lot to me.
In terms of Cooper’s portrayal of Jackson, he was also very convincing as an aging star battling addiction. What I loved most about his character was the sheer complexity of it, and how you didn’t know whether to feel sorry for him or berate him. The opinion of Jackson is left entirely up to the viewer, and I really respected that about the film. It has opened a lot of debates about his character’s behaviour, and it’s wonderful when a film causes audiences to do that. He is clearly very troubled but that doesn’t always excuse some of his appalling behaviour, which is presented to us in a very raw and honest way. Because of this, the film is not an easy watch, but I believe it’s an important one all the same. It was also wonderful to hear him sing, as he has a stunning voice that complements Gaga’s throughout. Together, they’ve really made something special. I’ve been listening to the soundtrack a lot since seeing the film.
I also loved the contrast in visual style throughout A Star Is Born. The choice of set design, lighting and colours perfectly reflect what the characters are feeling in that moment in time. We go from glamorous performances on stage, to grittier, intense territories. I was certainly impressed by Cooper’s first film and look forward to seeing where his journey towards directing will take him next. He’s put so much work into this and it really has paid off, giving us an emotional, heartfelt and honest story. If you’re wondering if I cried at any point, the answer is yes. That final song though…
A Star Is Born gives us an honest look into the darker side of fame, the highs and lows, what goes on behind the scenes, all of it. Whilst most of us aren’t ignorant about the fact these issues go on, this film really presents them to us in a brilliant way. The songs themselves are a huge part of this, telling their own stories and adding to the characters’ mindset. The lyrics are fantastic, and bring so much to the film. Listen closely and it’ll be easy to see why. I would definitely recommend it even if you’re not usually a lover of musical film, based on the story alone. It’s a rollercoaster of emotions from start to finish.
https://lucygoestohollywood.com/2018/10/14/a-haunting-look-at-fame-love-and-addiction-my-thoughts-on-a-star-is-born/
Darren (1599 KP) rated A Tale of Two Sisters (2003) in Movies
Jun 20, 2019
Story: A Tale of Two Sisters starts with Soo-mi Bae in a hospital with a doctor trying to convince her to tell her story. We flashback to when sisters Soo-mi Bae (Lim) and Soo-yeon Bae (Moon) move to the country home owned by their father Moo-hyeon Bae (Kim) and their new stepmother Eun-joo Heo (Yum).
The two sisters don’t like their new stepmother and to make matters worse the two discover that they are being haunted by a spirit, but is the spirit guiding them to uncover a truth or does it have another motive?
A Tale of Two Sisters really makes you wonder what is going on because once the big reveal happens you are left wondering what just happened. Everything is very well created with the suspense building up through the early part of the film and returning to the high level by the end of the film. This story does need a re-watch because you will want to check out everything that is finally reveal.
Actor Review
Kap-su Kim: Moo-hyeon Bae is the father of the family who does seem to end up becoming pretty much a background character to the three female characters. I feel this character falls to the background too much to get a high enough rating.
Jung-ah Yum: Eun-joo Heo is the stepmother of the family who doesn’t seem to like the two girls, she has a past that is hidden but once it gets discovered we see hat she is capable off. I think she makes for a very good menacing performance throughout while looking very normal to her husband.
Su-Jeong Lim: Soo-mi Bae is the eldest of the sisters who always protects her younger sister from the new stepmother, she learns more about the stepmother’s past but has past that ends up helping with the final reveal. This is a good performance showing the fear and the caring side being used throughout.
Geun-young Moon: Soo-Yeon Bae is the younger sister who always looks at her big sister for protection, constantly following her around the house, we learn about why she is being haunted and needing help as the film unfolds. This is good performance that ends up have a big secret.
Support Cast: A Tale of Two Sisters really doesn’t have much of a supporting cast but the very few we have all do what they need to do.
Director Review: Jee-woon Kim – Jee-woon gives us a very good horror that will keep you guessing until the very end where you will be left wonder what did happen.
Horror: A Tale of Two Sisters has real horror moments when they happen that will shock you.
Mystery: A Tale of Two Sisters creates a mystery about what is happening and what is the secret behind the stepmother.
Thriller: A Tale of Two Sisters keeps you guessing to what will happen by the end of the film.
Settings: A Tale of Two Sisters keeps all the action of the film in an isolated country house which adds to the horror because the girls have no where to go or no one to see.
Special Effects: A Tale of Two Sisters uses the effects for the haunting which are the only need for them.
Suggestion: A Tale of Two Sisters is one for the horror fans to try which is don’t go and watch remake first. (Horror Fans Try)
Best Part: Girl at the end of the bed nightmare.
Worst Part: You will need to double check the twist.
Scariest Scene: Girl at the end of the bed.
Believability: No
Chances of Tears: No
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: No
Runtime: 1 Hour 55 Minutes
Tagline: Every family has its dark secrets.
Overall: Horror film that is filled with suspense filled scares but a final twist that makes you wonder what really happened.
https://moviesreview101.com/2015/12/25/movie-reviews-101-midnight-horror-a-tale-of-two-sisters-2003/
The two sisters don’t like their new stepmother and to make matters worse the two discover that they are being haunted by a spirit, but is the spirit guiding them to uncover a truth or does it have another motive?
A Tale of Two Sisters really makes you wonder what is going on because once the big reveal happens you are left wondering what just happened. Everything is very well created with the suspense building up through the early part of the film and returning to the high level by the end of the film. This story does need a re-watch because you will want to check out everything that is finally reveal.
Actor Review
Kap-su Kim: Moo-hyeon Bae is the father of the family who does seem to end up becoming pretty much a background character to the three female characters. I feel this character falls to the background too much to get a high enough rating.
Jung-ah Yum: Eun-joo Heo is the stepmother of the family who doesn’t seem to like the two girls, she has a past that is hidden but once it gets discovered we see hat she is capable off. I think she makes for a very good menacing performance throughout while looking very normal to her husband.
Su-Jeong Lim: Soo-mi Bae is the eldest of the sisters who always protects her younger sister from the new stepmother, she learns more about the stepmother’s past but has past that ends up helping with the final reveal. This is a good performance showing the fear and the caring side being used throughout.
Geun-young Moon: Soo-Yeon Bae is the younger sister who always looks at her big sister for protection, constantly following her around the house, we learn about why she is being haunted and needing help as the film unfolds. This is good performance that ends up have a big secret.
Support Cast: A Tale of Two Sisters really doesn’t have much of a supporting cast but the very few we have all do what they need to do.
Director Review: Jee-woon Kim – Jee-woon gives us a very good horror that will keep you guessing until the very end where you will be left wonder what did happen.
Horror: A Tale of Two Sisters has real horror moments when they happen that will shock you.
Mystery: A Tale of Two Sisters creates a mystery about what is happening and what is the secret behind the stepmother.
Thriller: A Tale of Two Sisters keeps you guessing to what will happen by the end of the film.
Settings: A Tale of Two Sisters keeps all the action of the film in an isolated country house which adds to the horror because the girls have no where to go or no one to see.
Special Effects: A Tale of Two Sisters uses the effects for the haunting which are the only need for them.
Suggestion: A Tale of Two Sisters is one for the horror fans to try which is don’t go and watch remake first. (Horror Fans Try)
Best Part: Girl at the end of the bed nightmare.
Worst Part: You will need to double check the twist.
Scariest Scene: Girl at the end of the bed.
Believability: No
Chances of Tears: No
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: No
Runtime: 1 Hour 55 Minutes
Tagline: Every family has its dark secrets.
Overall: Horror film that is filled with suspense filled scares but a final twist that makes you wonder what really happened.
https://moviesreview101.com/2015/12/25/movie-reviews-101-midnight-horror-a-tale-of-two-sisters-2003/
Gareth von Kallenbach (980 KP) rated The Heartbreak Kid (2007) in Movies
Aug 14, 2019
It has been almost ten years since Ben Stiller teamed with the Farrelly brothers for the comedy classic “There’s Something About Mary”, which launched a series of highly successful films for Stiller who has championed the likeable loser role to the delight of audiences worldwide.
In the new film “The Heartbreak Kid”, Stiller is Eddie Cantrow, a successful owner of a San Francisco sporting goods, store who is at a crossroads in his life. At 40, Eddie is unmarried, not dating anyone, and about to attend the wedding of his former fiancé.
As if Eddie did not have enough to on his mind as he prepares for the wedding, his father (Jerry Stiller), constantly grills him on the need for him to sleep with more women and settle down. His best friend Mac (Rob Coddry) always touts the virtues of marriage and the need to do what the woman tells him to.
Shortly after the wedding, Eddie sees a lady being mugged and attempts to help her out. While things do not go as planned, he does form a connection with her and learns that her name is Lila (Malin Akerman), and despite his inability to muster the courage to ask for her number, she eventually shows up at his store looking for him.
The two begin to date and it looks like Eddie has finally found the perfect girl for him. She even shows old fashioned values by not wanting to have sex until later in their relationship, as she does not want to mess up a good thing.
The couple’s plans take an unexpected detour when Lila informs Eddie that her job plans to move her overseas for two years. When Eddie learns that her company will not transfer a married person, he musters up the courage and marries Lila after only 6 weeks of data.
The smitten couple plan to take three weeks to drive down to Cabo and stay at a resort, and enjoy their first weeks as husband and wife. Along the way, Eddie starts to see some annoying behavior arise in Lila, such as actively singing and acting along to every song on the radio, and some very acrobatic, dominate, and painful tendencies when they consummate their marriage.
As the honeymoon unfolds, Eddie becomes trapped in a nightmare, as it seems that Lila has become a crazy freak, and is not the person he though he married. Unsure what to do next, Eddie meets a lady named Miranda (Michelle Monaghan), while Lila is recovering from severe sunburn.
Intrigued by Miranda, Eddie starts to spend time with her, and soon falls for her which forces Eddie to figure out how to break the news of his marriage to Miranda, and how to get away from Lila.
In true Farrelly brother’s style, a series of outrageous and over the top events follows punctuated by some very crude and at times funny jokes and situations that push Eddie to the limits to find true love.
The film is a remake of the 1972 Neil Simon film of the same name, and while updated with more off color humor, the basic premise of the film has remained unchanged. There are some funny moments in the film and Stiller once again gets the job done as the likeable Eddie.
The problem is that for me, the film was two long, as many times there were gaps of almost twenty minutes between some of the good jokes, and I was left watching fairly dull stuff waiting for the next funny moment to arrive.
The performances in the film were eager, and the brothers did a workmanlike job of direction, as none of the cast was really challenged by the material. Even fine supporting work by Carlos Mencia as Uncle Tito did not get the chance to reach the potential his character showed. In the end, the film just had too many moments that did not work, as the jokes were too few and far between to truly be effective.
In the new film “The Heartbreak Kid”, Stiller is Eddie Cantrow, a successful owner of a San Francisco sporting goods, store who is at a crossroads in his life. At 40, Eddie is unmarried, not dating anyone, and about to attend the wedding of his former fiancé.
As if Eddie did not have enough to on his mind as he prepares for the wedding, his father (Jerry Stiller), constantly grills him on the need for him to sleep with more women and settle down. His best friend Mac (Rob Coddry) always touts the virtues of marriage and the need to do what the woman tells him to.
Shortly after the wedding, Eddie sees a lady being mugged and attempts to help her out. While things do not go as planned, he does form a connection with her and learns that her name is Lila (Malin Akerman), and despite his inability to muster the courage to ask for her number, she eventually shows up at his store looking for him.
The two begin to date and it looks like Eddie has finally found the perfect girl for him. She even shows old fashioned values by not wanting to have sex until later in their relationship, as she does not want to mess up a good thing.
The couple’s plans take an unexpected detour when Lila informs Eddie that her job plans to move her overseas for two years. When Eddie learns that her company will not transfer a married person, he musters up the courage and marries Lila after only 6 weeks of data.
The smitten couple plan to take three weeks to drive down to Cabo and stay at a resort, and enjoy their first weeks as husband and wife. Along the way, Eddie starts to see some annoying behavior arise in Lila, such as actively singing and acting along to every song on the radio, and some very acrobatic, dominate, and painful tendencies when they consummate their marriage.
As the honeymoon unfolds, Eddie becomes trapped in a nightmare, as it seems that Lila has become a crazy freak, and is not the person he though he married. Unsure what to do next, Eddie meets a lady named Miranda (Michelle Monaghan), while Lila is recovering from severe sunburn.
Intrigued by Miranda, Eddie starts to spend time with her, and soon falls for her which forces Eddie to figure out how to break the news of his marriage to Miranda, and how to get away from Lila.
In true Farrelly brother’s style, a series of outrageous and over the top events follows punctuated by some very crude and at times funny jokes and situations that push Eddie to the limits to find true love.
The film is a remake of the 1972 Neil Simon film of the same name, and while updated with more off color humor, the basic premise of the film has remained unchanged. There are some funny moments in the film and Stiller once again gets the job done as the likeable Eddie.
The problem is that for me, the film was two long, as many times there were gaps of almost twenty minutes between some of the good jokes, and I was left watching fairly dull stuff waiting for the next funny moment to arrive.
The performances in the film were eager, and the brothers did a workmanlike job of direction, as none of the cast was really challenged by the material. Even fine supporting work by Carlos Mencia as Uncle Tito did not get the chance to reach the potential his character showed. In the end, the film just had too many moments that did not work, as the jokes were too few and far between to truly be effective.
Gareth von Kallenbach (980 KP) rated Bewitched (2005) in Movies
Aug 14, 2019
Turning a classic television series into a feature film can be a risky proposition. While the built in audience of Baby Boomers and new fans of a show gained through reruns make remakes a potentially lucrative venture, the task of recasting classic characters and modernizing the story to today’s audiences is rife with hazards.
For example, for every remake that succeeds, such as The Adams Family, Starsky and Hutch, and The Brady Bunch, there are countless others that fail, like The Wild Wild West, Car 54 Where Are You and I-Spy.
Sadly the new film version of Bewitched falls into the latter category. It is so bad it begs the question as to why such talents like Nicole Kidman, Michael Caine, and Will Ferrell signed on.
The story centers on Isabel Bigelow (Nicole Kidman), a young woman who is anxious to set off on her own and leave the family structure behind her. While this is not so uncommon for most people, Isabel is a witch and her decision to live as a mortal without her powers is of great consternation to her father (Michael Caine).
Isabel is convinced she can find a man, and can live in happiness and love with a mortal. She wants no part of the shallow and wandering eye that makes up their lifestyle. Convinced his daughter will never be able to live without her powers, her father chides her for her frequent and casual use of powers to do everything from find and furnish her home to paying for everyday needs.
At roughly the same time, fading actor Jack Wyatt is about to sign up to play the male lead in a new television version of the classic Bewitched television series. With the gigantic failure of his recent film, Jack is in need of a hit. Not wanting to take any attention away from his star turn, Jack insists that the producers cast a complete unknown in the role of Samantha. He does not want anyone infringing upon his spotlight.
A chance encounter with Isabel leads to her being cast by Jack in the new series. Isabel is taken by Jack and when she learns the role is that of a witch, she signs aboard despite some reservations.
Naturally Jack and Isabel will hit it off, and yes there will be issues, particularly when Jack’s shallow nature becomes clear to Isabel, and this is to say nothing of Isabel’s true identity which in and of itself is an issue.
What starts as a good premise with a solid cast quickly dissolves into a disjointed mess thanks to a paper thin plot that is rife with plot holes, non-sequitors, and unresolved moments. One such example is the character of Iris Smythson (Shirley Mac Laine), who plays Endora on the show. It is at first hinted at that she too is a witch and then made obvious. However there is no conclusion to this revelation. We see that she has a power and uses it, but we never really get the why she is there, how she chose to live as she does, and how her relationship with Isabel’s father is going to be altered by this.
Another problem the show has is that Ferell is reduced to running around, over-acting to get laughs. The situations go on way to long, and things that are at first amusing, become tedious after a while. One such scene has Ferell’s character appearing nude on a live television appearance. It is something that is used to generate laughs but there is no setup to the scene and it plays out as a desperate attempt to get laughs.
The only thing that works is the charm of Kidman who, as the quirky Isabel, is delightful, as is the supporting work of Caine and Steve Carell as Uncle Arthur. Sadly they are the only good things in a film that became so bad that many in the audience at my press screener were voicing their disdain when we left the film. Perhaps Samantha can twitch her nose and make this one vanish, as there is precious little to redeem it.
For example, for every remake that succeeds, such as The Adams Family, Starsky and Hutch, and The Brady Bunch, there are countless others that fail, like The Wild Wild West, Car 54 Where Are You and I-Spy.
Sadly the new film version of Bewitched falls into the latter category. It is so bad it begs the question as to why such talents like Nicole Kidman, Michael Caine, and Will Ferrell signed on.
The story centers on Isabel Bigelow (Nicole Kidman), a young woman who is anxious to set off on her own and leave the family structure behind her. While this is not so uncommon for most people, Isabel is a witch and her decision to live as a mortal without her powers is of great consternation to her father (Michael Caine).
Isabel is convinced she can find a man, and can live in happiness and love with a mortal. She wants no part of the shallow and wandering eye that makes up their lifestyle. Convinced his daughter will never be able to live without her powers, her father chides her for her frequent and casual use of powers to do everything from find and furnish her home to paying for everyday needs.
At roughly the same time, fading actor Jack Wyatt is about to sign up to play the male lead in a new television version of the classic Bewitched television series. With the gigantic failure of his recent film, Jack is in need of a hit. Not wanting to take any attention away from his star turn, Jack insists that the producers cast a complete unknown in the role of Samantha. He does not want anyone infringing upon his spotlight.
A chance encounter with Isabel leads to her being cast by Jack in the new series. Isabel is taken by Jack and when she learns the role is that of a witch, she signs aboard despite some reservations.
Naturally Jack and Isabel will hit it off, and yes there will be issues, particularly when Jack’s shallow nature becomes clear to Isabel, and this is to say nothing of Isabel’s true identity which in and of itself is an issue.
What starts as a good premise with a solid cast quickly dissolves into a disjointed mess thanks to a paper thin plot that is rife with plot holes, non-sequitors, and unresolved moments. One such example is the character of Iris Smythson (Shirley Mac Laine), who plays Endora on the show. It is at first hinted at that she too is a witch and then made obvious. However there is no conclusion to this revelation. We see that she has a power and uses it, but we never really get the why she is there, how she chose to live as she does, and how her relationship with Isabel’s father is going to be altered by this.
Another problem the show has is that Ferell is reduced to running around, over-acting to get laughs. The situations go on way to long, and things that are at first amusing, become tedious after a while. One such scene has Ferell’s character appearing nude on a live television appearance. It is something that is used to generate laughs but there is no setup to the scene and it plays out as a desperate attempt to get laughs.
The only thing that works is the charm of Kidman who, as the quirky Isabel, is delightful, as is the supporting work of Caine and Steve Carell as Uncle Arthur. Sadly they are the only good things in a film that became so bad that many in the audience at my press screener were voicing their disdain when we left the film. Perhaps Samantha can twitch her nose and make this one vanish, as there is precious little to redeem it.
Gareth von Kallenbach (980 KP) rated Casino Royale (2006) in Movies
Aug 14, 2019
In an effort to breathe life into franchises, Hollywood, has looked to remaking franchises instead of adding sequels. This is a stark contrast to remaking a film 10-20 years after the original film appeared, rather the new trend is to start series anew, in effect wiping away the previous history and continuity of the past films in the series.
The idea is that rather than let several years pass in a series, or creating another sequel, filmmaker will go back to the beginning and start anew, in order to propel the franchise forward.
While remakes are nothing new in Hollywood, the idea to revamp series that recently had sequels is gaining ground. With the classic Horror film “Halloween” about to be remade, it seems that Hollywood is taking a long hard look at this new trend.
Perhaps the biggest example of this trend is in the new James Bond film Casino Royale, which introduces Daniel Craig as the new 007. The film takes the controversial twist to show the first mission of Bond and how he earned the rank of 00.
The twist is that the film takes place in the modern day and for the most part, casts aside all previous history and continuity that has been established by decades of Bond films.
The story involves bond on the trail of a Le Chiffre (Mads Mikkelsen), a man who makes his living laundering money for various insurgents thus providing them cash for their terrorist and military missions.
In exotic locales ranging from the Caribbean to Montenegro Bond soon finds himself facing off against Le Chiffre in a high-stakes poker game in order to defeat Le Chiffre and thus cripple him and his network.
Of course there are plenty of subplots, and some great action sequences especially a thrilling chase in a construction site and a break neck chase in an airport that underscores that the series still have plenty of life in it and always sets the standards for stunt work in action films.
That being said the film has its issues. First, it is to long, and lengthy sequences past without action or dynamic tension. I know this is a film based on a card game, but I come to a Bond film expecting action, sex, and thrills, not a series of poker games that cover nearly 30 minutes with precious little action between them.
In addition, there is precious little romance in the film. Sure there are gorgeous women and Bond never fails to charm them, but, how many times has Bond ever passed up spending the night with a woman, simply to get out of town fast to pursue a lead. I am sure Sean Connery’s Bond would have found the time to do both with his typical style.
This is not to say that Craig is bad in his role as he does a darker and much grittier Bond than we have previously films which will serve the franchise well in the future.
What concerns me most is that from the books and all previous history, Bond is an orphan of noble birth and is a member of upper society and radiates class, sophistication and nobility, and this was evident from his early years all through his recruitment from the Royal Navy into the ranks of espionage.
Craig’s Bond does not show these qualities but rather comes across as a common Joe who is playing the part of a heavy. The appeal of Bond is underscored by the fact that he is a suave individual who can bend a person to his will as easily as he can kill without mercy or regret.
While I do not like the decision to remake the franchise, I will say that the film was much better than I expected it to be and is one of the better Bonds in recent years. Here is hoping that for the next time out, the reigns are loosed on Craig so we can allow him to interpret Bond in a way that is original and fresh, yet stays true to the source material and history of the character.
The idea is that rather than let several years pass in a series, or creating another sequel, filmmaker will go back to the beginning and start anew, in order to propel the franchise forward.
While remakes are nothing new in Hollywood, the idea to revamp series that recently had sequels is gaining ground. With the classic Horror film “Halloween” about to be remade, it seems that Hollywood is taking a long hard look at this new trend.
Perhaps the biggest example of this trend is in the new James Bond film Casino Royale, which introduces Daniel Craig as the new 007. The film takes the controversial twist to show the first mission of Bond and how he earned the rank of 00.
The twist is that the film takes place in the modern day and for the most part, casts aside all previous history and continuity that has been established by decades of Bond films.
The story involves bond on the trail of a Le Chiffre (Mads Mikkelsen), a man who makes his living laundering money for various insurgents thus providing them cash for their terrorist and military missions.
In exotic locales ranging from the Caribbean to Montenegro Bond soon finds himself facing off against Le Chiffre in a high-stakes poker game in order to defeat Le Chiffre and thus cripple him and his network.
Of course there are plenty of subplots, and some great action sequences especially a thrilling chase in a construction site and a break neck chase in an airport that underscores that the series still have plenty of life in it and always sets the standards for stunt work in action films.
That being said the film has its issues. First, it is to long, and lengthy sequences past without action or dynamic tension. I know this is a film based on a card game, but I come to a Bond film expecting action, sex, and thrills, not a series of poker games that cover nearly 30 minutes with precious little action between them.
In addition, there is precious little romance in the film. Sure there are gorgeous women and Bond never fails to charm them, but, how many times has Bond ever passed up spending the night with a woman, simply to get out of town fast to pursue a lead. I am sure Sean Connery’s Bond would have found the time to do both with his typical style.
This is not to say that Craig is bad in his role as he does a darker and much grittier Bond than we have previously films which will serve the franchise well in the future.
What concerns me most is that from the books and all previous history, Bond is an orphan of noble birth and is a member of upper society and radiates class, sophistication and nobility, and this was evident from his early years all through his recruitment from the Royal Navy into the ranks of espionage.
Craig’s Bond does not show these qualities but rather comes across as a common Joe who is playing the part of a heavy. The appeal of Bond is underscored by the fact that he is a suave individual who can bend a person to his will as easily as he can kill without mercy or regret.
While I do not like the decision to remake the franchise, I will say that the film was much better than I expected it to be and is one of the better Bonds in recent years. Here is hoping that for the next time out, the reigns are loosed on Craig so we can allow him to interpret Bond in a way that is original and fresh, yet stays true to the source material and history of the character.
BankofMarquis (1832 KP) rated The Lion King (2019) in Movies
Jul 21, 2019
Middle of the Road
I have to give the Walt Disney Company credit, with their Live Action remakes of their classic animated movies, they have developed a very lucrative profit stream with properties that they already own - and are well known to audiences. Some are successful (THE JUNGLE BOOK, ALADDIN), some are not quite so successful (DUMBO, ALICE IN WONDERLAND).
And...somewhere in the middle...is the LION KING.
Directed by Jon Favreau (THE JUNGLE BOOK, IRON MAN), this Lion King is a fairly faithful reproduction of the animated movie - and that is a blessing and a curse - and it, ultimately, keeps this remake squarely in the middle in terms of quality, interest and achievement.
What works: the CGI animation of the animals and scenery. Favreau shot CGI-fest films like THE JUNGLE BOOK and IRON MAN, so he knows how to do these things and they work here in a very workmanlike way. The are all professionally done - there's not a bad shot in the film. But the "wow" moments are few and far between in this film as well
The story is a timeless classic (kind of an "animal adventure Hamlet") and that works as do OME of the voice cast (more on that later)...and...of course...the songs - especially the faithful recreation of the CIRCLE OF LIFE opening - one of the best opening musical numbers in movie history.
What doesn't work: The first 1/2 of the film's pacing. It drags pretty badly early on and the songs in that part of the film (like I CAN'T WAIT TO BE KING) just don't have the energy and pizzazz that is needed. And SOME of the voice work is just plain bland and boring and (in one case) I found irritating.
So...let's talk about the voice cast. James Earl Jones (reprising Mufasa) is terrific (of course) as is John Oliver's Zazu (a much bigger presence in this film than the animated film), Chiwetel Ejiofor's Scar is appropriately menacing, if a bit bland, but "good enough" as is Beyonce's grown up Nala. I would have liked to see/feel a bit more of her "presence" in this character's voice, but that might be a Director choice and not an actress choice. John Kani's Rafiki is quite good as is the always steady/credible Alfre Woodward as Sarabi.
What doesn't work is the two voice actors cast to play Simba. Donald Glover (TV's ATLANTA) is just too bland and boring as the adult Simba. He doesn't really bring anything interesting to his voice work of this character (but does hold his own in the musical duet "Can You Feel The Love Tonight" opposite the great Beyonce).
I usually don't comment on child performances that I don't like (they are kids after all), so I won't really comment much on JD McCrary's voice performance as the young Simba except to say I didn't really how much MORE the young Simba is in this film as opposed to the older Simba - or at least it felt to me that the weakest voice performance in this film was on screen for far longer than I remembered from the animated film.
As for the best voice performances in this film - that is easy - Billy Eichner and Seth Rogan's performance as Simba's pals Timon and Pumbaa. They had big shoes to fill in comparison to the voice work in the animated film from Nathan Lane and Ernie Sabella, so they did the smart thing - they didn't even try. Much like Will Smith not trying to imitate Robin Williams in the live action ALADDIN earlier this year (another voice performance that worked well) Eichner and Rogan make these characters their own and succeeded well - these two characters/performances are the high point in the film and bring much needed life and energy to a movie that was sagging under it's own weight by the time they show up.
This Lion King will be THE Lion King for this generation - and that is "fine" - if the youngsters in my life want to watch this, I won't complain. But... I will try to steer them towards the much better animated version of this film from the 1990's.
Letter Grade: a solid B
7 stars (out of 10) and you can take that to the Bank(OfMarquis)
And...somewhere in the middle...is the LION KING.
Directed by Jon Favreau (THE JUNGLE BOOK, IRON MAN), this Lion King is a fairly faithful reproduction of the animated movie - and that is a blessing and a curse - and it, ultimately, keeps this remake squarely in the middle in terms of quality, interest and achievement.
What works: the CGI animation of the animals and scenery. Favreau shot CGI-fest films like THE JUNGLE BOOK and IRON MAN, so he knows how to do these things and they work here in a very workmanlike way. The are all professionally done - there's not a bad shot in the film. But the "wow" moments are few and far between in this film as well
The story is a timeless classic (kind of an "animal adventure Hamlet") and that works as do OME of the voice cast (more on that later)...and...of course...the songs - especially the faithful recreation of the CIRCLE OF LIFE opening - one of the best opening musical numbers in movie history.
What doesn't work: The first 1/2 of the film's pacing. It drags pretty badly early on and the songs in that part of the film (like I CAN'T WAIT TO BE KING) just don't have the energy and pizzazz that is needed. And SOME of the voice work is just plain bland and boring and (in one case) I found irritating.
So...let's talk about the voice cast. James Earl Jones (reprising Mufasa) is terrific (of course) as is John Oliver's Zazu (a much bigger presence in this film than the animated film), Chiwetel Ejiofor's Scar is appropriately menacing, if a bit bland, but "good enough" as is Beyonce's grown up Nala. I would have liked to see/feel a bit more of her "presence" in this character's voice, but that might be a Director choice and not an actress choice. John Kani's Rafiki is quite good as is the always steady/credible Alfre Woodward as Sarabi.
What doesn't work is the two voice actors cast to play Simba. Donald Glover (TV's ATLANTA) is just too bland and boring as the adult Simba. He doesn't really bring anything interesting to his voice work of this character (but does hold his own in the musical duet "Can You Feel The Love Tonight" opposite the great Beyonce).
I usually don't comment on child performances that I don't like (they are kids after all), so I won't really comment much on JD McCrary's voice performance as the young Simba except to say I didn't really how much MORE the young Simba is in this film as opposed to the older Simba - or at least it felt to me that the weakest voice performance in this film was on screen for far longer than I remembered from the animated film.
As for the best voice performances in this film - that is easy - Billy Eichner and Seth Rogan's performance as Simba's pals Timon and Pumbaa. They had big shoes to fill in comparison to the voice work in the animated film from Nathan Lane and Ernie Sabella, so they did the smart thing - they didn't even try. Much like Will Smith not trying to imitate Robin Williams in the live action ALADDIN earlier this year (another voice performance that worked well) Eichner and Rogan make these characters their own and succeeded well - these two characters/performances are the high point in the film and bring much needed life and energy to a movie that was sagging under it's own weight by the time they show up.
This Lion King will be THE Lion King for this generation - and that is "fine" - if the youngsters in my life want to watch this, I won't complain. But... I will try to steer them towards the much better animated version of this film from the 1990's.
Letter Grade: a solid B
7 stars (out of 10) and you can take that to the Bank(OfMarquis)
Darren (1599 KP) rated Edge of Darkness (2010) in Movies
Jul 25, 2019
Story: Edge of Darkness starts when Craven (Gibson) get to spend his daughter Emma (Novakovic) only for an unknown gunman killing her on his doorstep, Craven being a homicide detective isn’t allowed to investigate the case for legal reasons, so he decides to go against the law in his search for the murderer.
The early signs make it looks like Craven himself was the target, but it soon comes to light that it might be Emma’s work for a government company run by Jack Bennett (Huston) that might have made her the target and the deeper he digs the more he learns about his daughter.
Thoughts on Edge of Darkness
Characters – Craven is a respect homicide detective, everyone in the force knows just how capable of solving a murder he can be, but when his own daughter is murdered, he starts to go against the law to figure out who and why she was murdered. He will not stop at anything to locate the truth and take out the people that murdered his daughter. Jedburgh is an English man that will help Craven fill in the gaps, while trying to keep him away from the answers, he has been hired to make sure the investment stays safe, without building up a body count. Jack Bennett runs the company that Emma works for, he knows how to answer questions to keep the press happy, while keeping the shady operations under wraps. Emma is the daughter that Craven is delighted to spend time with once again, only she gets murdered and it is her life before this meeting that we get to see her in.
Performances – Mel Gibson might well have had his problems in Hollywood, but when it comes to crime thrillers, he is in his element always shining in these roles without ever looking out of place, and demanding the screen whenever he steps on screen. Ray Winstone is great in his role, which only seems to be around for the calmer or criminal sides of the film. Danny Huston is an actor that can play a villain in his sleep and this is no different, he brings the smug figure to life here. Bojana Novakovic is great in her smaller role which doesn’t need to get much more screen time to add to the story.
Story – The story here follows a homicide detective that starts to investigate the murder of his daughter only to find himself in the middle of a much bigger conspiracy that puts his own life in danger. This story starts off looking like it is going to be a revenge like movie because of how the first murder happens only to become a big conspiracy movie that offers up plenty of miss-direction as we lead to the truth. Any story that can keep you guessing and let try to figure out the ending yourself is an entertaining watch, with the outcome not even needing to be spoon fed to us either. This might well be a remake of a television show, but it plays into the modern ideas and works with how the conspiracy could be relevant for today’s climate.
Crime/Mystery – The crime side of the film starts by just looking like a murder, it soon dives into cover ups, conspiracy and secret groups which shows how the government might go about trying to cover up a secret. The mystery in the film comes from just how the conspiracy keeps managing to unfold to expose more truth about what Emma was involved in.
Settings – The film uses the Boston setting to show how many crimes have been committed in this stricter state which does show us just how big of a conspiracy needs covering up.
Scene of the Movie – Riverside meeting.
That Moment That Annoyed Me – It would have been nice to see more of Jedburgh.
Final Thoughts – This is a wonderfully intense crime thriller that does keep you guessing throughout the film, we get strong performance throughout and a story that has been modernized without looking out of place.
Overall: Hugely entertaining crime thriller.
The early signs make it looks like Craven himself was the target, but it soon comes to light that it might be Emma’s work for a government company run by Jack Bennett (Huston) that might have made her the target and the deeper he digs the more he learns about his daughter.
Thoughts on Edge of Darkness
Characters – Craven is a respect homicide detective, everyone in the force knows just how capable of solving a murder he can be, but when his own daughter is murdered, he starts to go against the law to figure out who and why she was murdered. He will not stop at anything to locate the truth and take out the people that murdered his daughter. Jedburgh is an English man that will help Craven fill in the gaps, while trying to keep him away from the answers, he has been hired to make sure the investment stays safe, without building up a body count. Jack Bennett runs the company that Emma works for, he knows how to answer questions to keep the press happy, while keeping the shady operations under wraps. Emma is the daughter that Craven is delighted to spend time with once again, only she gets murdered and it is her life before this meeting that we get to see her in.
Performances – Mel Gibson might well have had his problems in Hollywood, but when it comes to crime thrillers, he is in his element always shining in these roles without ever looking out of place, and demanding the screen whenever he steps on screen. Ray Winstone is great in his role, which only seems to be around for the calmer or criminal sides of the film. Danny Huston is an actor that can play a villain in his sleep and this is no different, he brings the smug figure to life here. Bojana Novakovic is great in her smaller role which doesn’t need to get much more screen time to add to the story.
Story – The story here follows a homicide detective that starts to investigate the murder of his daughter only to find himself in the middle of a much bigger conspiracy that puts his own life in danger. This story starts off looking like it is going to be a revenge like movie because of how the first murder happens only to become a big conspiracy movie that offers up plenty of miss-direction as we lead to the truth. Any story that can keep you guessing and let try to figure out the ending yourself is an entertaining watch, with the outcome not even needing to be spoon fed to us either. This might well be a remake of a television show, but it plays into the modern ideas and works with how the conspiracy could be relevant for today’s climate.
Crime/Mystery – The crime side of the film starts by just looking like a murder, it soon dives into cover ups, conspiracy and secret groups which shows how the government might go about trying to cover up a secret. The mystery in the film comes from just how the conspiracy keeps managing to unfold to expose more truth about what Emma was involved in.
Settings – The film uses the Boston setting to show how many crimes have been committed in this stricter state which does show us just how big of a conspiracy needs covering up.
Scene of the Movie – Riverside meeting.
That Moment That Annoyed Me – It would have been nice to see more of Jedburgh.
Final Thoughts – This is a wonderfully intense crime thriller that does keep you guessing throughout the film, we get strong performance throughout and a story that has been modernized without looking out of place.
Overall: Hugely entertaining crime thriller.
Movie Metropolis (309 KP) rated Cold Pursuit (2019) in Movies
Jun 10, 2019
Neeson's best film in years
Yes, we all know the jokes. Liam Neeson’s spiral into revenge thriller territory is one of the most meme-worthy things in film, except maybe John Travolta and Battlefield Earth. Starting with Taken and its, let’s be honest, dreadful sequels, the Irish actor has made a name for himself as the go-to guy to rough someone up after a spate of bad-luck.
He’s had kids killed, kidnapped and spouses murdered in cold blood, he’s even been framed for hijacking a jumbo jet – if anyone deserves a break, it’s Liam Neeson. Unfortunately, his films have ranged from great (Taken, Non-Stop), to middling (Run All Night, The Commuter), to downright dreadful (Taken 2, Taken 3) and that’s how the meme-worthiness was born. Nevertheless, Neeson is back for yet another revenge thriller in Cold Pursuit. But how does it stack up?
Nels Coxman’s (Neeson) quiet life as a snowplough driver comes crashing down when his beloved son (Micheál Richardson) dies under mysterious circumstances. His search for the truth soon becomes a quest for revenge against a psychotic drug lord named Viking (Tom Bateman) and his sleazy henchmen. Transformed from upstanding citizen to cold-blooded vigilante, Coxman unwittingly sets off a chain of events that includes a kidnapping, a series of deadly misunderstandings and a turf war between Viking and a rival boss called White Bull.
Let’s get the elephant in the room out of the way first. This is not a review biased by Neeson’s, shall we say, ill-worded rant on his former life. We all have our own opinions on the matter, but that should not detract from individuals going to see a movie in the cinema. In fact, Cold Pursuit is Neeson’s most accomplished film in years, helped by stylish directing from Swedish director Hans Petter Moland. It’s worth noting that Cold Pursuit is in fact a US remake of Swedish film, In Order of Disappearance and there’s a tasteful nod to the film’s roots in the end-credits.
With a dark, comedic edge, Cold Pursuit is as funny as much as it is gory and it is this hybridity of genres that remains the film’s trump card. The script, penned by Moland himself, is witty and sharp, filled with fantastic line-delivery by the entire cast who look like they’re having a cracking time. There are twists and turns and even a gay-romantic subplot – how very contemporary.
Apart from Neeson, Tom Bateman is an absolute stand-out as the film’s primary antagonist. Allowing him to be a presence in the film from the outset allows the audience to fully feel his character and there’s no doubt that he is a despicable human-being. Neeson performs in typical Liam Neeson fashion. He snarls and growls his way through the film but allows a softer side to creep in than we’re used to, helped in part by that comedic script.
Revenge thrillers rarely have the budget for flashy CGI or top-notch practical effects but Cold Pursuit is one of the better in the genre
It’s not perfect however. Laura Dern is a massively underused presence throughout and disappears completely from the film about 1-hour in with no other references to her character. This is a real shame as her chemistry with Neeson is good and they make a believable couple, especially when they’re dealing with the ramifications of their son’s death.
Dern continues to prove her acting prowess and it would have been nice to see her continue to be a feature throughout the film. The pacing is a little off too. At 118 minutes long, the film plods a little as it gets going and then doesn’t stop until the fun and entirely ridiculous finale.
However, it’s good to see the special effects are up to scratch for the genre. Revenge thrillers rarely have the budget for flashy CGI or top-notch practical effects but Cold Pursuit is one of the better in the genre. With a relatively modest budget of $60million, it appears that was well spent with clever editing and cinematography masking any less-than-stellar visuals.
Overall, Cold Pursuit is a fun, if forgettable revenge thriller that features some delicious dark comedy mixed with an intriguing story. It’s certainly Neeson’s best film since Non-Stopand marks a return to form for the Irish actor. Unfortunately, these type of flicks are ten-a-penny nowadays and I’m unsure whether snappy one-liners and beautiful snow-capped peaks are enough to differentiate it in a crowded marketplace.
https://moviemetropolis.net/2019/03/01/cold-pursuit-review-neesons-best-film-in-years/
He’s had kids killed, kidnapped and spouses murdered in cold blood, he’s even been framed for hijacking a jumbo jet – if anyone deserves a break, it’s Liam Neeson. Unfortunately, his films have ranged from great (Taken, Non-Stop), to middling (Run All Night, The Commuter), to downright dreadful (Taken 2, Taken 3) and that’s how the meme-worthiness was born. Nevertheless, Neeson is back for yet another revenge thriller in Cold Pursuit. But how does it stack up?
Nels Coxman’s (Neeson) quiet life as a snowplough driver comes crashing down when his beloved son (Micheál Richardson) dies under mysterious circumstances. His search for the truth soon becomes a quest for revenge against a psychotic drug lord named Viking (Tom Bateman) and his sleazy henchmen. Transformed from upstanding citizen to cold-blooded vigilante, Coxman unwittingly sets off a chain of events that includes a kidnapping, a series of deadly misunderstandings and a turf war between Viking and a rival boss called White Bull.
Let’s get the elephant in the room out of the way first. This is not a review biased by Neeson’s, shall we say, ill-worded rant on his former life. We all have our own opinions on the matter, but that should not detract from individuals going to see a movie in the cinema. In fact, Cold Pursuit is Neeson’s most accomplished film in years, helped by stylish directing from Swedish director Hans Petter Moland. It’s worth noting that Cold Pursuit is in fact a US remake of Swedish film, In Order of Disappearance and there’s a tasteful nod to the film’s roots in the end-credits.
With a dark, comedic edge, Cold Pursuit is as funny as much as it is gory and it is this hybridity of genres that remains the film’s trump card. The script, penned by Moland himself, is witty and sharp, filled with fantastic line-delivery by the entire cast who look like they’re having a cracking time. There are twists and turns and even a gay-romantic subplot – how very contemporary.
Apart from Neeson, Tom Bateman is an absolute stand-out as the film’s primary antagonist. Allowing him to be a presence in the film from the outset allows the audience to fully feel his character and there’s no doubt that he is a despicable human-being. Neeson performs in typical Liam Neeson fashion. He snarls and growls his way through the film but allows a softer side to creep in than we’re used to, helped in part by that comedic script.
Revenge thrillers rarely have the budget for flashy CGI or top-notch practical effects but Cold Pursuit is one of the better in the genre
It’s not perfect however. Laura Dern is a massively underused presence throughout and disappears completely from the film about 1-hour in with no other references to her character. This is a real shame as her chemistry with Neeson is good and they make a believable couple, especially when they’re dealing with the ramifications of their son’s death.
Dern continues to prove her acting prowess and it would have been nice to see her continue to be a feature throughout the film. The pacing is a little off too. At 118 minutes long, the film plods a little as it gets going and then doesn’t stop until the fun and entirely ridiculous finale.
However, it’s good to see the special effects are up to scratch for the genre. Revenge thrillers rarely have the budget for flashy CGI or top-notch practical effects but Cold Pursuit is one of the better in the genre. With a relatively modest budget of $60million, it appears that was well spent with clever editing and cinematography masking any less-than-stellar visuals.
Overall, Cold Pursuit is a fun, if forgettable revenge thriller that features some delicious dark comedy mixed with an intriguing story. It’s certainly Neeson’s best film since Non-Stopand marks a return to form for the Irish actor. Unfortunately, these type of flicks are ten-a-penny nowadays and I’m unsure whether snappy one-liners and beautiful snow-capped peaks are enough to differentiate it in a crowded marketplace.
https://moviemetropolis.net/2019/03/01/cold-pursuit-review-neesons-best-film-in-years/