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Sophia (Bookwyrming Thoughts) (530 KP) rated Six of Crows in Books
Jan 23, 2020
I know. I KNOW. I SLACK A LOT LATELY. 😳
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I’ve finally read <em>Six of Crows,</em> the book that everyone keeps talking about and won’t stop talking about (now everyone keeps talking about <i>Crooked Kingdom</i>, among other books), and <i>hellooo </i>this is better than the <i>Grisha </i>trilogy. I didn’t even like Alina or Mal from the first series - if anything, I liked the Darkling (bless his dark heart) and Stormhound (I keep wondering if he’ll appear and he doesn’t seem to have despite the fact there might be mentions of him 🤔).
Yet with <i>Six of Crows</i>… I like maybe 85% of the main characters. I say maybe because my math might actually be off and I’m too lazy to actually pull out a calculator and punch in some numbers to get what might be 0.84999. And it’s 85% because I might hate them later. That’s more than who I liked from the <i>Grisha </i>trilogy. 😱
<i>Six of Crows</i> technically has six main characters: Kaz, Inej, Nina, Matthias, Jesper, and Wylan (the odd little bean with no spotlight and therefore no prowling in his mind). All of whom are outcasts sent on a suicidal mission to rescue the creator of a drug that increases a Grisha’s power exponentially yet kills them in the end.
Five of which all have POVs switching around every chapter. I’m not a <i>huge </i>fan of multiple POVs because it can easily get confusing, but Bardugo wrote all five in a way that I’m not confused and running around like a little hamster who lost hold of how to stop its wheel.
The group of six are <i>fantastic </i>as a group - despite their differences, they get along pretty well and have a great dynamic together. They’re even better as pairs: Kaz and Inej, Nina and Matthias, Jesper and Wylan. I am all for witty and snark and just great dialogue. 😍
<blockquote class="tr_bq">Jesper knocked his head against the hull and cast his eyes heavenward. “Fine. But if Pekka Rollins kills us all, I’m going to get Wylan’s ghost to teach my ghost how to play the flute just so that I can annoy the hell out of your ghost.”
Brekker’s lips quirked. “I’ll just hire Matthias’ ghost to kick your ghost’s ass.”
“My ghost won’t associate with your ghost,” Matthias said primly.</blockquote>
In case anyone wonders…. I ship Kaz and Inej. They are, simply out, badass and go well together perfectly (apparently my ship doesn’t sail in the sequel, which I’m extremely disappointed about). Kaz is a brilliant leader leading the Dregs with all kinds of tricks and plans up his cane and never backs down from a mission no matter how impossible it may be. Inej is a highly skilled assassin who has a knack for sneaking up on people without them ever knowing. Have I mentioned under their tough exteriors, they’re occasionally softies and it’s cute?
Onto ze world… <i>Six of Crows</i> brings us back to the world of Grisha, onto a small little island off the coast of Ravka and Shu Han, and into a little area called Ketterdam where criminals and misfits of society lurk together. I really loved the drastic change from palaces to a complete polar opposite where one has to constantly watch their back. Throughout the duration of the book, I really liked Bardugo’s descriptions of each place the six travel on their way, especially with how Fjerda has this ice court with a palace virtually impossible to break into with all the top notch security that they have.
<i>Six of Crows</i> can be read regardless of whether or not the <i>Grisha </i>trilogy has been read - there’s excellent character dynamics, great dialogue that might cause a laugh or two, and a cast that come from all kinds of backgrounds.
<a href="https://bookwyrmingthoughts.com/six-of-crows-by-leigh-bardugo-review/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
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I’ve finally read <em>Six of Crows,</em> the book that everyone keeps talking about and won’t stop talking about (now everyone keeps talking about <i>Crooked Kingdom</i>, among other books), and <i>hellooo </i>this is better than the <i>Grisha </i>trilogy. I didn’t even like Alina or Mal from the first series - if anything, I liked the Darkling (bless his dark heart) and Stormhound (I keep wondering if he’ll appear and he doesn’t seem to have despite the fact there might be mentions of him 🤔).
Yet with <i>Six of Crows</i>… I like maybe 85% of the main characters. I say maybe because my math might actually be off and I’m too lazy to actually pull out a calculator and punch in some numbers to get what might be 0.84999. And it’s 85% because I might hate them later. That’s more than who I liked from the <i>Grisha </i>trilogy. 😱
<i>Six of Crows</i> technically has six main characters: Kaz, Inej, Nina, Matthias, Jesper, and Wylan (the odd little bean with no spotlight and therefore no prowling in his mind). All of whom are outcasts sent on a suicidal mission to rescue the creator of a drug that increases a Grisha’s power exponentially yet kills them in the end.
Five of which all have POVs switching around every chapter. I’m not a <i>huge </i>fan of multiple POVs because it can easily get confusing, but Bardugo wrote all five in a way that I’m not confused and running around like a little hamster who lost hold of how to stop its wheel.
The group of six are <i>fantastic </i>as a group - despite their differences, they get along pretty well and have a great dynamic together. They’re even better as pairs: Kaz and Inej, Nina and Matthias, Jesper and Wylan. I am all for witty and snark and just great dialogue. 😍
<blockquote class="tr_bq">Jesper knocked his head against the hull and cast his eyes heavenward. “Fine. But if Pekka Rollins kills us all, I’m going to get Wylan’s ghost to teach my ghost how to play the flute just so that I can annoy the hell out of your ghost.”
Brekker’s lips quirked. “I’ll just hire Matthias’ ghost to kick your ghost’s ass.”
“My ghost won’t associate with your ghost,” Matthias said primly.</blockquote>
In case anyone wonders…. I ship Kaz and Inej. They are, simply out, badass and go well together perfectly (apparently my ship doesn’t sail in the sequel, which I’m extremely disappointed about). Kaz is a brilliant leader leading the Dregs with all kinds of tricks and plans up his cane and never backs down from a mission no matter how impossible it may be. Inej is a highly skilled assassin who has a knack for sneaking up on people without them ever knowing. Have I mentioned under their tough exteriors, they’re occasionally softies and it’s cute?
Onto ze world… <i>Six of Crows</i> brings us back to the world of Grisha, onto a small little island off the coast of Ravka and Shu Han, and into a little area called Ketterdam where criminals and misfits of society lurk together. I really loved the drastic change from palaces to a complete polar opposite where one has to constantly watch their back. Throughout the duration of the book, I really liked Bardugo’s descriptions of each place the six travel on their way, especially with how Fjerda has this ice court with a palace virtually impossible to break into with all the top notch security that they have.
<i>Six of Crows</i> can be read regardless of whether or not the <i>Grisha </i>trilogy has been read - there’s excellent character dynamics, great dialogue that might cause a laugh or two, and a cast that come from all kinds of backgrounds.
<a href="https://bookwyrmingthoughts.com/six-of-crows-by-leigh-bardugo-review/"; target="_blank">This review was originally posted on Bookwyrming Thoughts</a>
Kirk Bage (1775 KP) rated Okja (2017) in Movies
Mar 3, 2020 (Updated Mar 3, 2020)
Okja (pronounced ok-cha, as far as I can discern from hearing it said) was a film I had on my radar from its release, but it took the impetus of Parasite and director Bong Joon Ho winning the Oscar to kick me into settling down to watch it. It is the kind of film I would have seen as a matter of course when I worked at the beloved Cameo Cinema, Edinburgh, back in the day… but the kind of film it takes me a while to get around to these days.
What I had heard was that it was quirky, had a very black humour and involved a giant pig. Other than that I was going in blind. Which is always preferable, with almost any film! Hype and too much information can ruin your experience of a thing, simply by putting preconceptions and ideas in your head that may influence your thinking and true reaction to something. I was very grateful then to avoid too much information regarding this unique movie.
The cast is full of people I like, outside of the Korean cast that were strangers to me, in all honesty. Jake Gyllenhaal and Paul Dano, especially, are two actors that have been high on my list of consistent performers you can trust for some years; both making interesting and compelling career choices in terms of subject matter and working with strong directors. Tilda Swinton too is usually good value for a promising watch, almost guaranteeing something slightly leftfield and worth thinking about.
Dano gets away with being the one likeable, if morally ambiguous, character out of the three; with Swinton and Gyllenhaal giving bizarre, heightened comic performances that it is hard to reference to anything else! As the main story of eco-consciousness and a girl’s love for her giant pig progresses in charming fashion, it is these starkly bonkers performances that stick out like very sore thumbs – sometimes raising awkward chuckles, but mostly making you go “what the hell is going on!?”
Well, what is going on is an exploration of corporate evil, the lies, deviousness and manipulation used to make a profit that ignores life and nature as anything worth preserving, or even loving. It wants us to look at meat eating for what it is, and imagines how we might think more about it as a species if we truly accept that animals have rights, personalities, even souls. Of course many people watching wouldn’t need to be converted to this way of thinking at all, so I am very curious (as a non vegetarian / vegan) what reaction a person whose consciousness of these things has been awake for years might have…?
It is possible to watch this without involving yourself too much in that whole debate, however. At its heart, it is a film about innocent love, and a rescue movie that sets unlikely heroes against a gargantuan nemesis against all odds. Naturally, it is a very smart script, that doesn’t ignore the notion of making fun of itself and keeping it mostly fun. In many ways, it seems like a family friendly film, apart from the underlying seriousness of the subject of cruelty, torture and, essentially, murder for the private gain of unscrupulous suits who would watch the world burn in the name of profit.
At the time of watching it, I caught myself in the right mood and really enjoyed it for what it was. Seo-Hyun Ahn as Mija is utterly lovely, and you do find yourself falling for Okja (rendered with marvelous CGI work) and sympathising with the warmth of their relationship as friends. The moments of the film that show nature and the calm of a non-modern world are the most compelling. The parts of the film with cities and noise and guns are more jarring – which, perhaps, is the point and fully intentional. Clearly, this is a director with serious vision and talent that was almost, if not quite, getting it right. As we now know, with Parasite he nailed it…
This is a film I’d be a little cautious of recommending to some people. It is just too odd in parts. It is a good film, not a great one. And perhaps more likely to impress in the hands of viewers that are already converted to the cause and way of thinking it champions.
What I had heard was that it was quirky, had a very black humour and involved a giant pig. Other than that I was going in blind. Which is always preferable, with almost any film! Hype and too much information can ruin your experience of a thing, simply by putting preconceptions and ideas in your head that may influence your thinking and true reaction to something. I was very grateful then to avoid too much information regarding this unique movie.
The cast is full of people I like, outside of the Korean cast that were strangers to me, in all honesty. Jake Gyllenhaal and Paul Dano, especially, are two actors that have been high on my list of consistent performers you can trust for some years; both making interesting and compelling career choices in terms of subject matter and working with strong directors. Tilda Swinton too is usually good value for a promising watch, almost guaranteeing something slightly leftfield and worth thinking about.
Dano gets away with being the one likeable, if morally ambiguous, character out of the three; with Swinton and Gyllenhaal giving bizarre, heightened comic performances that it is hard to reference to anything else! As the main story of eco-consciousness and a girl’s love for her giant pig progresses in charming fashion, it is these starkly bonkers performances that stick out like very sore thumbs – sometimes raising awkward chuckles, but mostly making you go “what the hell is going on!?”
Well, what is going on is an exploration of corporate evil, the lies, deviousness and manipulation used to make a profit that ignores life and nature as anything worth preserving, or even loving. It wants us to look at meat eating for what it is, and imagines how we might think more about it as a species if we truly accept that animals have rights, personalities, even souls. Of course many people watching wouldn’t need to be converted to this way of thinking at all, so I am very curious (as a non vegetarian / vegan) what reaction a person whose consciousness of these things has been awake for years might have…?
It is possible to watch this without involving yourself too much in that whole debate, however. At its heart, it is a film about innocent love, and a rescue movie that sets unlikely heroes against a gargantuan nemesis against all odds. Naturally, it is a very smart script, that doesn’t ignore the notion of making fun of itself and keeping it mostly fun. In many ways, it seems like a family friendly film, apart from the underlying seriousness of the subject of cruelty, torture and, essentially, murder for the private gain of unscrupulous suits who would watch the world burn in the name of profit.
At the time of watching it, I caught myself in the right mood and really enjoyed it for what it was. Seo-Hyun Ahn as Mija is utterly lovely, and you do find yourself falling for Okja (rendered with marvelous CGI work) and sympathising with the warmth of their relationship as friends. The moments of the film that show nature and the calm of a non-modern world are the most compelling. The parts of the film with cities and noise and guns are more jarring – which, perhaps, is the point and fully intentional. Clearly, this is a director with serious vision and talent that was almost, if not quite, getting it right. As we now know, with Parasite he nailed it…
This is a film I’d be a little cautious of recommending to some people. It is just too odd in parts. It is a good film, not a great one. And perhaps more likely to impress in the hands of viewers that are already converted to the cause and way of thinking it champions.
An Adventure in Statistics: The Reality Enigma
Book
Shortlisted for the British Book Design and Production Awards 2016 Shortlisted for the Association...
Bob Mann (459 KP) rated Jurassic World: Fallen Kingdom (2018) in Movies
Sep 29, 2021
Greedy men + Dinosaurs = Lunch!
I’ve really had a rollercoaster of emotions on this one. As a general fan of dinosaurs running riot, since I saw the brilliant original in 1993, I was pretty disillusioned by the teaser trailer for this one: all over-the-top CGI. But as the lights dimmed and the Universal logo faded to ominous sonar sounds, the hairs stood up again and I thought J.A. Bayona (“A Monster Calls“) *might* deliver something really special here. Ultimately though, I left the theatre disappointed… but only slightly so.
With extreme topicality given what is happening on one of the Hawaiian islands at the moment, Isla Nublar – home to the now derelict Jurassic World theme park – is in serious trouble due to a volcanic eruption. Swayed by chaos theory expert Ian Malcolm (Jeff Goldblum), a US senate committee decides to do…. absolutely nothing, letting the dinosaurs face re-extinction. This is much to the fury of our heroine from the first film, Claire Dearing (Bryce Dallas-Howard), who now runs a “Save the Dinosaurs” group. When all seems lost, help comes from the wallet of philanthropist Benjamin Lockwood (James Cromwell, “Babe”, “LA Confidential”) and his ops manager Eli Mills (Rafe Spall, “The Big Short“) who propose to fund a private rescue mission: a mission that requires the involvement of Velociraptor-wrangler Owen Grady (Chris Pratt, “Guardians of the Galaxy“, “Passengers“). But are their motives truly honourable?
The film has its moments, with some well-executed action scenes, some nice munching of bad people and a few scenes that are truly touching: shots of a brachiosauruses’ last moments is a memorable piece of cinema. But that said, the film is extremely patchy. An exciting (but not particularly logical) pre-title sequence seques into a very wordy and action-free first reel, headed up by Goldblum (always seated: did he have his legs chewed off by a raptor?) droning on (blah blah blah), no doubt for a huge fee but not for much purpose. The early part of the movie is good however at introducing new characters: specifically the geeky Franklin (Justice Smith) and the pre-requisite 2018 ‘Times Up” kick-ass female character Zia ( Daniella Pineda), who is actually very good. As a whole though it’s not terribly engaging, leading to even the reveal of the derelict theme park – which should have been a high point – falling somewhat flat.
The much trailered volcano scenes that follow are impressive but should have been left to impress in the film.
Things ratchet up again though when the action moves to the more confining environment of Lockwood’s estate, bringing in arch-villain Gunnar Eversol played by Toby Jones (“The Snowman“, “Atomic Blonde“), who really should have taken the stairs, and Lockwood’s granddaughter Maisie ( Isabella Sermon) who is excellent as the ‘child in peril’. Some of the character’s actions don’t make a lot of sense (laser-targeting Owen? Why?) but they do generate some memorable scenes, supported by Michael Giacchino’s stirring soundtrack.
So, it pretty much works as an action film, but in terms of character development it doesn’t go anywhere in particular: Claire and Owen come out in about the same condition as they came in. I was expecting something deeper from Bayona (with his “A Monster Calls” being my personal No. 2 film of last year) than just a ‘running and screaming’ film.
It’s also difficult to avoid the fact that after five of these films there’s nothing much new under the Isla Nublar sun. Some of the plot here is a retread of the genetic shenanigans of the last film, mixed with the ‘off-island’ antics of “The Lost World”. And most of the action scenes are just stripped and re-painted from the earlier films. For example, the “about to get eaten but saved by another dinosaur” trope so expertly done by Spielberg in the finale of JP1 is re-hashed not once but THREE times in this movie: leading to more yawning that excitement if I’m honest.
Overall though, it’s an effective summer blockbuster that mostly delivers on the thrills and should be a good crowd-pleaser. By the way, staying through the endless credits is worth it not just for getting the full force of Giacchino and Williams’ majestic themes: there is quite a nice “monkey” at the end, illustrating that gambling might involve more than just money in the future!
With extreme topicality given what is happening on one of the Hawaiian islands at the moment, Isla Nublar – home to the now derelict Jurassic World theme park – is in serious trouble due to a volcanic eruption. Swayed by chaos theory expert Ian Malcolm (Jeff Goldblum), a US senate committee decides to do…. absolutely nothing, letting the dinosaurs face re-extinction. This is much to the fury of our heroine from the first film, Claire Dearing (Bryce Dallas-Howard), who now runs a “Save the Dinosaurs” group. When all seems lost, help comes from the wallet of philanthropist Benjamin Lockwood (James Cromwell, “Babe”, “LA Confidential”) and his ops manager Eli Mills (Rafe Spall, “The Big Short“) who propose to fund a private rescue mission: a mission that requires the involvement of Velociraptor-wrangler Owen Grady (Chris Pratt, “Guardians of the Galaxy“, “Passengers“). But are their motives truly honourable?
The film has its moments, with some well-executed action scenes, some nice munching of bad people and a few scenes that are truly touching: shots of a brachiosauruses’ last moments is a memorable piece of cinema. But that said, the film is extremely patchy. An exciting (but not particularly logical) pre-title sequence seques into a very wordy and action-free first reel, headed up by Goldblum (always seated: did he have his legs chewed off by a raptor?) droning on (blah blah blah), no doubt for a huge fee but not for much purpose. The early part of the movie is good however at introducing new characters: specifically the geeky Franklin (Justice Smith) and the pre-requisite 2018 ‘Times Up” kick-ass female character Zia ( Daniella Pineda), who is actually very good. As a whole though it’s not terribly engaging, leading to even the reveal of the derelict theme park – which should have been a high point – falling somewhat flat.
The much trailered volcano scenes that follow are impressive but should have been left to impress in the film.
Things ratchet up again though when the action moves to the more confining environment of Lockwood’s estate, bringing in arch-villain Gunnar Eversol played by Toby Jones (“The Snowman“, “Atomic Blonde“), who really should have taken the stairs, and Lockwood’s granddaughter Maisie ( Isabella Sermon) who is excellent as the ‘child in peril’. Some of the character’s actions don’t make a lot of sense (laser-targeting Owen? Why?) but they do generate some memorable scenes, supported by Michael Giacchino’s stirring soundtrack.
So, it pretty much works as an action film, but in terms of character development it doesn’t go anywhere in particular: Claire and Owen come out in about the same condition as they came in. I was expecting something deeper from Bayona (with his “A Monster Calls” being my personal No. 2 film of last year) than just a ‘running and screaming’ film.
It’s also difficult to avoid the fact that after five of these films there’s nothing much new under the Isla Nublar sun. Some of the plot here is a retread of the genetic shenanigans of the last film, mixed with the ‘off-island’ antics of “The Lost World”. And most of the action scenes are just stripped and re-painted from the earlier films. For example, the “about to get eaten but saved by another dinosaur” trope so expertly done by Spielberg in the finale of JP1 is re-hashed not once but THREE times in this movie: leading to more yawning that excitement if I’m honest.
Overall though, it’s an effective summer blockbuster that mostly delivers on the thrills and should be a good crowd-pleaser. By the way, staying through the endless credits is worth it not just for getting the full force of Giacchino and Williams’ majestic themes: there is quite a nice “monkey” at the end, illustrating that gambling might involve more than just money in the future!
Bob Mann (459 KP) rated Dunkirk (2017) in Movies
Sep 29, 2021
A war vehicle running low on fuel.
The words “Christopher Nolan” and “disappointment” are not words I would naturally associate… but for me, they apply where “Dunkirk” is concerned.
It promised so much from the trailer: a historical event of epic proportions; Kenneth Branagh; Tom Hardy; Mark Rylance; Hans Zimmer on the keys; the director of such classics as “The Dark Knight”; “Inception” and “Interstellar” : what could go wrong?
But it just doesn’t work and I’ve spent the last 24 hours trying to unpick why.
A key problem for me was the depiction of the beach itself. The film eschews CGI effects – a move that I would normally approve of – in favour of the use of “practical effects” and the involvement of “thousands of extras” (as the rather glutinously positive Wiki entry declares). Unfortunately for the movie, there were some 400,000 troops marooned in this last patch of civilisation ahead of the Nazi hoard, and all of the shots refuse to acknowledge this scale of potential human tragedy. Yes, there are individual scenes of horror, such as the soldier walking into the sea against the impassive stares of the young heroes. But nothing of scale. At times I thought I’d seen more people on the beach on a winter’s day in Bournemouth! In the absence of a co-production with China, and the provision of the volume of extras as in “The Great Wall“, CGI becomes a necessary evil to make the whole exercise believable.
What it was really like…. one of the famous paintings by Charles Cundall (Crown copyright).
My disquiet at this deepened when we got to the sharp end of the rescue by the “small boats”. In my mind (and I’m NOT quite old enough to remember this!) I imagine a sea full of them. A sight to truly merit Branagh’s awed gaze. But no. They might have been “original” vessels…. but there was only about half a dozen of them. A mental vision dashed.
Did I feel a spot of rain? Looking to unfriendly skies on the River Mole.
The film attempts to tell the story from three perspectives: from the land; from the sea and from the air. The sea though gets the lion’s share of the film, and there is much drowning that occurs that (I am aware) was distressing for some in the audience.
Styles going in One Direction…. down.
Nolan also pushes his quirky “timeline” manipulation too far for an audience that largely expects a linear telling of a classic tale. It’s day; it’s night; the minesweeper’s sailing; then sunk; then sailing again; a Spitfire crashes, then crashes again from a different perspective. I know many in the audience just didn’t ‘get’ that: leaving them presumably very confused!
That being said, the film is not a write off, and has its moments of brilliance. Kenneth Branagh (“Jack Ryan: Shadow Recruit“, “Valkyrie”) – although having a range of Nolan’s clipped and cheesy lines to say – is impressive as the commanding officer. Mark Rylance (“Bridge of Spies“, “The BFG“) also shines as the captain of the “Moonstone”: one of the small boats out of Weymouth (although here there is a grievous lack of backstory for the civilian efforts). And Tom Hardy (“The Revenant“, “Legend“), although having limited opportunity to act with anything other than his eyes, is impressive as RAF pilot Farrier. His final scene of stoic heroism is memorable.
Fionn Whitehead is also impressive in his movie debut, and even Harry Styles (“This is Us“) equips himself well.
A surfeit of horror leads to a lack of compassion. Harry Styles, Aneurin Barnard and Fionn Whitehead look on as the death toll mounts.
The cinematography by Hoyte Van Hoytema (“Interstellar“) is stunning with some memorable shots: a burning plane on a beach being a highspot for me.
And Hans Zimmer’s score is Oscar-worthy, generating enormous tension with a reverberating score, albeit sometimes let down by unsuitable cutaways (for example, to scenes of boat loading). Elsewhere in the sound department though I had major issues, with a decent percentage of the dialogue being completely inaudible in the sound mix.
Kenneth Branagh, impressive as Commander Bolton RN.
I really wanted this to be a “Battle of Britain”. Or a “Bridge Too Far”. Or even a “Saving Private Ryan”. Unfortunately, for me it was none of these, and this goes down as one of my movie disappointments of the year so far.
It promised so much from the trailer: a historical event of epic proportions; Kenneth Branagh; Tom Hardy; Mark Rylance; Hans Zimmer on the keys; the director of such classics as “The Dark Knight”; “Inception” and “Interstellar” : what could go wrong?
But it just doesn’t work and I’ve spent the last 24 hours trying to unpick why.
A key problem for me was the depiction of the beach itself. The film eschews CGI effects – a move that I would normally approve of – in favour of the use of “practical effects” and the involvement of “thousands of extras” (as the rather glutinously positive Wiki entry declares). Unfortunately for the movie, there were some 400,000 troops marooned in this last patch of civilisation ahead of the Nazi hoard, and all of the shots refuse to acknowledge this scale of potential human tragedy. Yes, there are individual scenes of horror, such as the soldier walking into the sea against the impassive stares of the young heroes. But nothing of scale. At times I thought I’d seen more people on the beach on a winter’s day in Bournemouth! In the absence of a co-production with China, and the provision of the volume of extras as in “The Great Wall“, CGI becomes a necessary evil to make the whole exercise believable.
What it was really like…. one of the famous paintings by Charles Cundall (Crown copyright).
My disquiet at this deepened when we got to the sharp end of the rescue by the “small boats”. In my mind (and I’m NOT quite old enough to remember this!) I imagine a sea full of them. A sight to truly merit Branagh’s awed gaze. But no. They might have been “original” vessels…. but there was only about half a dozen of them. A mental vision dashed.
Did I feel a spot of rain? Looking to unfriendly skies on the River Mole.
The film attempts to tell the story from three perspectives: from the land; from the sea and from the air. The sea though gets the lion’s share of the film, and there is much drowning that occurs that (I am aware) was distressing for some in the audience.
Styles going in One Direction…. down.
Nolan also pushes his quirky “timeline” manipulation too far for an audience that largely expects a linear telling of a classic tale. It’s day; it’s night; the minesweeper’s sailing; then sunk; then sailing again; a Spitfire crashes, then crashes again from a different perspective. I know many in the audience just didn’t ‘get’ that: leaving them presumably very confused!
That being said, the film is not a write off, and has its moments of brilliance. Kenneth Branagh (“Jack Ryan: Shadow Recruit“, “Valkyrie”) – although having a range of Nolan’s clipped and cheesy lines to say – is impressive as the commanding officer. Mark Rylance (“Bridge of Spies“, “The BFG“) also shines as the captain of the “Moonstone”: one of the small boats out of Weymouth (although here there is a grievous lack of backstory for the civilian efforts). And Tom Hardy (“The Revenant“, “Legend“), although having limited opportunity to act with anything other than his eyes, is impressive as RAF pilot Farrier. His final scene of stoic heroism is memorable.
Fionn Whitehead is also impressive in his movie debut, and even Harry Styles (“This is Us“) equips himself well.
A surfeit of horror leads to a lack of compassion. Harry Styles, Aneurin Barnard and Fionn Whitehead look on as the death toll mounts.
The cinematography by Hoyte Van Hoytema (“Interstellar“) is stunning with some memorable shots: a burning plane on a beach being a highspot for me.
And Hans Zimmer’s score is Oscar-worthy, generating enormous tension with a reverberating score, albeit sometimes let down by unsuitable cutaways (for example, to scenes of boat loading). Elsewhere in the sound department though I had major issues, with a decent percentage of the dialogue being completely inaudible in the sound mix.
Kenneth Branagh, impressive as Commander Bolton RN.
I really wanted this to be a “Battle of Britain”. Or a “Bridge Too Far”. Or even a “Saving Private Ryan”. Unfortunately, for me it was none of these, and this goes down as one of my movie disappointments of the year so far.
Bob Mann (459 KP) rated Sully (2016) in Movies
Sep 29, 2021
No, not “Monsters Inc 3”.
Chesley Sullenberger was just a very experienced US Airways pilot starting an everyday job flying from LaGuardia airport in New York to Charlotte when fate stepped in. Following an extensive bird strike and the loss of both engines, ‘Sully’ achieved worldwide fame by landing his aircraft and all 151 passengers and crew safely on the Hudson river. Sully is immediately acclaimed by the public as a hero; US Airways, and their insurers, however, are not necessarily as impressed given that their plane has got rather soggy when the flight data suggests it might have actually been able to make it to a landing at a number of nearby airports. So a National Transportation Safety Board (NTSB) inquiry is called, where a decision against Sully could see him facing the fastest fall from grace since Icarus.
This film is obviously based on this real-life ‘Miracle on the Hudson’ and to a large extent the recreation of the crash…. sorry… “forced water landing” is both vivid and gripping. The film is certainly unlikely to make the regular list of in-flight movies for nervous passengers, but it does serve as a good training film for all of those regular airline passengers who don’t “put down their reading materials” to listen to the aircraft safety announcement.
Director Clint Eastwood has delivered a highly watchable action sequence showcasing the undisputed acting talents of Tom Hanks (playing Sully) and his Aaron Eckhard (“Olympus Has Fallen”, playing the co-pilot Jeff Skiles). This makes for a great 45 minute film. The problem is the other 51 minutes.
Where the film works well – aside from the actual recreation itself – is in representing the post-traumatic stress experienced by Sully, with his insomnia and regular flashbacks of ‘what might have happened’ (anyone still strongly affected by 9/11 will struggle with these scenes). The final NTSB hearing scenes are also well-done and suitably gripping: particularly for viewers outside of the UK where we wouldn’t have heard the outcome of the affair once the news cycle had moved on from the ‘gee-whizz’ headline event.
Where the film aquaplanes somewhat is in the padding achieved through multiple (MULTIPLE!) scenes of New Yorkers back-slapping Sully. Some of this is needed to establish the pedestal that Sully is set upon: the bar scene, for example, is well done. But all the rest of the references become just plain tiresome.
There is also a back-story focused on Sully’s financial problems and rather scratchy marriage (as portrayed) to Lorraine (Laura Linney). Linney is normally a highly-watchable actress, but here her character is just so irritating that the mood of the film plummets every time she reappears on screen.
The key problem that screenwriter Todd Komarnicki (“Elf”!!) had here is the obvious one: that as a real-event (based on Sullenberger’s own book “Highest Duty”) he would have had more scope to build tension if the flight had lasted more than 208 seconds! We end up with little visibility into the back-stories of the passengers. We get to see a father and two grown-up sons who – as fate would have it – just manage to catch the doomed plane: and we end up caring what happens to them. But this approach could have perhaps been usefully extended to feature more of the passenger back-stories (without getting the full “Airport” soap treatment).
Clint Eastwood is also clearly an All-American patriot, and in common with some of his other films he can’t help himself from putting up rather soupy statements about the self-sacrifice of New Yorkers (“the best of New York came together”): when actually the rescue teams did what they were paid to do and Ferry captains did what you or I would do if we stumbled on the scene! These sentiments might go down well in the States: in the cynical UK they tend to generate snorts of irritation.
What IS nice are a couple of “monkeys” (see Glossary) during the closing credits where the real Sully, Skiles, cabin-crew and passengers appear together in a celebration of continued life against all the odds. And just so you are aware, this is done as two separate segments during the titles, so if you don’t want to be one of those people standing in the aisles with your coat half on, then wait for the second one!
A curate’s egg of a film: great in places, but overall not as well executed as it could have been.
This film is obviously based on this real-life ‘Miracle on the Hudson’ and to a large extent the recreation of the crash…. sorry… “forced water landing” is both vivid and gripping. The film is certainly unlikely to make the regular list of in-flight movies for nervous passengers, but it does serve as a good training film for all of those regular airline passengers who don’t “put down their reading materials” to listen to the aircraft safety announcement.
Director Clint Eastwood has delivered a highly watchable action sequence showcasing the undisputed acting talents of Tom Hanks (playing Sully) and his Aaron Eckhard (“Olympus Has Fallen”, playing the co-pilot Jeff Skiles). This makes for a great 45 minute film. The problem is the other 51 minutes.
Where the film works well – aside from the actual recreation itself – is in representing the post-traumatic stress experienced by Sully, with his insomnia and regular flashbacks of ‘what might have happened’ (anyone still strongly affected by 9/11 will struggle with these scenes). The final NTSB hearing scenes are also well-done and suitably gripping: particularly for viewers outside of the UK where we wouldn’t have heard the outcome of the affair once the news cycle had moved on from the ‘gee-whizz’ headline event.
Where the film aquaplanes somewhat is in the padding achieved through multiple (MULTIPLE!) scenes of New Yorkers back-slapping Sully. Some of this is needed to establish the pedestal that Sully is set upon: the bar scene, for example, is well done. But all the rest of the references become just plain tiresome.
There is also a back-story focused on Sully’s financial problems and rather scratchy marriage (as portrayed) to Lorraine (Laura Linney). Linney is normally a highly-watchable actress, but here her character is just so irritating that the mood of the film plummets every time she reappears on screen.
The key problem that screenwriter Todd Komarnicki (“Elf”!!) had here is the obvious one: that as a real-event (based on Sullenberger’s own book “Highest Duty”) he would have had more scope to build tension if the flight had lasted more than 208 seconds! We end up with little visibility into the back-stories of the passengers. We get to see a father and two grown-up sons who – as fate would have it – just manage to catch the doomed plane: and we end up caring what happens to them. But this approach could have perhaps been usefully extended to feature more of the passenger back-stories (without getting the full “Airport” soap treatment).
Clint Eastwood is also clearly an All-American patriot, and in common with some of his other films he can’t help himself from putting up rather soupy statements about the self-sacrifice of New Yorkers (“the best of New York came together”): when actually the rescue teams did what they were paid to do and Ferry captains did what you or I would do if we stumbled on the scene! These sentiments might go down well in the States: in the cynical UK they tend to generate snorts of irritation.
What IS nice are a couple of “monkeys” (see Glossary) during the closing credits where the real Sully, Skiles, cabin-crew and passengers appear together in a celebration of continued life against all the odds. And just so you are aware, this is done as two separate segments during the titles, so if you don’t want to be one of those people standing in the aisles with your coat half on, then wait for the second one!
A curate’s egg of a film: great in places, but overall not as well executed as it could have been.
Movie Metropolis (309 KP) rated X-Men: Dark Phoenix (2019) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
Goodbye Normal Jean
It would be easy to write off X-Men: Dark Phoenix as a complete and utter disaster. With the departure of Bryan Singer (again) from the franchise, first-time director Simon Kinberg taking his place and rumours of costly reshoots pushing the budget north of $200million, things weren’t looking good for this adaptation of the popular Marvel comic.
Let’s not forget that the last time Fox tried to adapt this storyline we ended up with 2006’s The Last Stand, and the less said about that the better. Looking back over the last 20 years, the X-Men’s film franchise history has been chequered to say the least.
Nevertheless, this particular timeline that started with Matthew Vaughn’s adequate First Class, followed up by the excellent Days of Future Past and the flabby Apocalypse ends with Dark Phoenix. But is it worthy of your consideration?
This is the story of one of the X-Men’s most beloved characters, Jean Grey (Sophie Turner), as she evolves into the iconic Phoenix. During a rescue mission in space, Jean is hit by a cosmic force that transforms her into one of the most powerful mutants of all. Wrestling with this increasingly unstable power as well as her own personal demons, Jean spirals out of control, tearing the X-Men family apart and threatening to destroy the very fabric of our planet.
First things first – this is not a bad film. Yes, you heard me right. Leagues above Apocalypse and much better than The Last Stand, Dark Phoenix is a film that has been let down by catastrophically poor marketing. It’s not perfect, as we’ll discover in this review, but it tries a different approach, and for that it should be applauded.
For this reviewer, the modern day cast of characters has always been a weak spot for the series and that doesn’t really change in Dark Phoenix. James McAvoy remains miscast as Charles Xavier, especially since packing on the muscle for this Glass, but he performs much better here than he did in its predecessor. His transition into egotistical maniac, obsessed by the celebrity status the X-Men have acquired at the outset of the film is an intriguing diversion from where he was at the end of Apocalypse.
The younger cast are more likeable. Kodi Smitt-McPhee’s portrayal of Nightcrawler is fabulous and he gets more to do this time around. Tye Sheridan is great as young Cyclops and Evan Peters’ Quicksilver remains a highlight, though it’s unfortunate he’s cast aside relatively quickly – for fans of his set pieces from the previous two films, you’ll be disappointed here. Michael Fassbender and Nicholas Hoult bring their a-games, but they even seem a little bored by what’s going on. “You’re always sorry, Charles. And there’s always a speech. But nobody cares anymore!” bites Michael Fassbender at one point in the film – perhaps he’s onto something?
The first hour is perhaps the best the series has been since Days of Future Past
Of the female cast, Sophie Turner does her best with the material she’s given, and her Jean Grey is full of anger, angst and melancholy. The script struggles to provide her with any other emotion, but she’s a pleasing protagonist for the most part. Unfortunately, Jennifer Lawrence completely phones in her performance as Mystique and Jessica Chastain’s horrifically underwritten villain wastes a fabulous actor in a thankless role – much like Oscar Issac in Apocalypse.
With reports of heavy reshoots, you’d be forgiven for thinking that the film would end up a royal mess. Thankfully, the first hour is perhaps the best the series has been since Days of Future Past. Focusing on character development rather than all-out action, it’s a pleasing change and one which is more than welcome. Unfortunately, as time ticks away, the film loses all semblance of sanity and becomes muddled as it steamrolls towards an underwhelming climax.
And despite the reported budget of $200million, some of the shot choices and outfits feel cheap. It’s clear director Simon Kinberg is a fan of the series, but the X-Men costumes are bland, ill-fitting and a world away from what we’ve seen before. Closer to the comics they may be, but that’s not always a good thing. Elsewhere, the film feels cut-rate, almost TV-movie like and that’s a real shame because the special effects are top-notch. Mercifully, Hans Zimmer’s score is wonderful. The soaring orchestral soundtrack works brilliantly with the film – it’s probably the best music in the series to date.
Overall, X-Men: Dark Phoenix has been a victim of poor marketing with trailers that spoilt perhaps the most pivotal moment of the film (which we won’t spoil here). Nevertheless, the first hour is great and the special effects provide the film with some thrilling set pieces. It’s a shame then that the film offers up nothing new to the table despite some committed performances – this Phoenix just doesn’t quite rise to the occasion.
https://moviemetropolis.net/2019/06/07/x-men-dark-phoenix-review-goodbye-normal-jean/
Let’s not forget that the last time Fox tried to adapt this storyline we ended up with 2006’s The Last Stand, and the less said about that the better. Looking back over the last 20 years, the X-Men’s film franchise history has been chequered to say the least.
Nevertheless, this particular timeline that started with Matthew Vaughn’s adequate First Class, followed up by the excellent Days of Future Past and the flabby Apocalypse ends with Dark Phoenix. But is it worthy of your consideration?
This is the story of one of the X-Men’s most beloved characters, Jean Grey (Sophie Turner), as she evolves into the iconic Phoenix. During a rescue mission in space, Jean is hit by a cosmic force that transforms her into one of the most powerful mutants of all. Wrestling with this increasingly unstable power as well as her own personal demons, Jean spirals out of control, tearing the X-Men family apart and threatening to destroy the very fabric of our planet.
First things first – this is not a bad film. Yes, you heard me right. Leagues above Apocalypse and much better than The Last Stand, Dark Phoenix is a film that has been let down by catastrophically poor marketing. It’s not perfect, as we’ll discover in this review, but it tries a different approach, and for that it should be applauded.
For this reviewer, the modern day cast of characters has always been a weak spot for the series and that doesn’t really change in Dark Phoenix. James McAvoy remains miscast as Charles Xavier, especially since packing on the muscle for this Glass, but he performs much better here than he did in its predecessor. His transition into egotistical maniac, obsessed by the celebrity status the X-Men have acquired at the outset of the film is an intriguing diversion from where he was at the end of Apocalypse.
The younger cast are more likeable. Kodi Smitt-McPhee’s portrayal of Nightcrawler is fabulous and he gets more to do this time around. Tye Sheridan is great as young Cyclops and Evan Peters’ Quicksilver remains a highlight, though it’s unfortunate he’s cast aside relatively quickly – for fans of his set pieces from the previous two films, you’ll be disappointed here. Michael Fassbender and Nicholas Hoult bring their a-games, but they even seem a little bored by what’s going on. “You’re always sorry, Charles. And there’s always a speech. But nobody cares anymore!” bites Michael Fassbender at one point in the film – perhaps he’s onto something?
The first hour is perhaps the best the series has been since Days of Future Past
Of the female cast, Sophie Turner does her best with the material she’s given, and her Jean Grey is full of anger, angst and melancholy. The script struggles to provide her with any other emotion, but she’s a pleasing protagonist for the most part. Unfortunately, Jennifer Lawrence completely phones in her performance as Mystique and Jessica Chastain’s horrifically underwritten villain wastes a fabulous actor in a thankless role – much like Oscar Issac in Apocalypse.
With reports of heavy reshoots, you’d be forgiven for thinking that the film would end up a royal mess. Thankfully, the first hour is perhaps the best the series has been since Days of Future Past. Focusing on character development rather than all-out action, it’s a pleasing change and one which is more than welcome. Unfortunately, as time ticks away, the film loses all semblance of sanity and becomes muddled as it steamrolls towards an underwhelming climax.
And despite the reported budget of $200million, some of the shot choices and outfits feel cheap. It’s clear director Simon Kinberg is a fan of the series, but the X-Men costumes are bland, ill-fitting and a world away from what we’ve seen before. Closer to the comics they may be, but that’s not always a good thing. Elsewhere, the film feels cut-rate, almost TV-movie like and that’s a real shame because the special effects are top-notch. Mercifully, Hans Zimmer’s score is wonderful. The soaring orchestral soundtrack works brilliantly with the film – it’s probably the best music in the series to date.
Overall, X-Men: Dark Phoenix has been a victim of poor marketing with trailers that spoilt perhaps the most pivotal moment of the film (which we won’t spoil here). Nevertheless, the first hour is great and the special effects provide the film with some thrilling set pieces. It’s a shame then that the film offers up nothing new to the table despite some committed performances – this Phoenix just doesn’t quite rise to the occasion.
https://moviemetropolis.net/2019/06/07/x-men-dark-phoenix-review-goodbye-normal-jean/
Movie Metropolis (309 KP) rated The Meg (2018) in Movies
Jun 10, 2019
Jurassic Shark
Ah the shark attack movie. A genre that has over the years changed itself from impactful horror suspense thriller to cheesy, throwaway popcorn entertainment. Apart from when Steven Spielberg changed cinema forever with his 1975 masterpiece, Jaws, audiences have been given few treats in the decades that followed.
Deep Blue Sea was a tasteful homage to its forbearer, but even that was riddled in cliché and was much more of a brain-numbing creature feature than Jaws was. And then came Sharknado and its raft of dreadfully titled sequels. Look back through cinema history and you’ll see that sharks are big business in Hollywood.
Now, as we enter the final stages of 2018, Jason Statham stars in perhaps the most preposterous shark movie yet, yes, even more preposterous than Sharknado 3: Oh Hell No! But sometimes preposterous can be fun. Is that the case here?
A massive creature attacks a deep-sea submersible, leaving it disabled and trapping the crew at the bottom of the Pacific Ocean. With time running out, rescue diver Jonas Taylor (Statham) must save the crew and the ocean itself from an unimaginable threat – a 75-foot-long prehistoric shark known as the Megalodon.
Jon Turteltaub, who directed delicacies like National Treasure and Cool Runnings takes to The Meg like, well a duck to water. It’s filled with tantalising action sequences and Jason Statham spouting marine biology jargon including a scene in which the Hollywood star is shirtless whilst spouting marine biology jargon. What more could you want?
Quite a bit as it happens. Despite a solid opening act that sets up the dark humour of the film nicely, The Meg is a bit of a bore. Populated by bland characters, uninspiring CGI and plot holes so big they’d make the Marianas trench blush. It’s all a bit of a mess to be honest.
The Meg is one of a new breed of Hollywood blockbusters that has been made to pander to the new Chinese audience and while this has worked well for other high-budget movies like Pacific Rim, it doesn’t work quite as well here. Li Bingbing stars as marine biologist Suyin Zhang and whilst she performs well in her native tongue, her English-spoken scenes are stilted and lack any depth of emotion whatsoever.
In fact, outside of Statham, the rest of the cast are complete non-entities. Rainn Wilson provides some comic relief as a financial investor, but it’s all very B-movie and clearly not in the way it was intended. You see, when you know you have a ridiculous premise, the best thing to do is run with it and create the most insanely bizarre film in existence. Unfortunately, The Meg takes itself far too seriously and this makes it feel much longer than its running time would suggest. They could’ve gotten away with calling it ‘Jason Statham Shark Movie’ as that’ pretty much the premise in a nutshell.
It’s occasionally fun and could have been smashing fun, but in reality, it’s a bit of a damp squib
At a cost just shy of $200million, you’d expect to have Jurassic World: Fallen Kingdom levels of special effects. They actually cost around the same to produce. In truth, The Meg can’t hold a candle to its land-based prehistoric cousin. The CGI is passable at best and really dreadful at worst and this is a real shame. When the main selling point of your film is a 75-foot shark, you really need to get it spot on.
Besides a couple of cool shots, one of which is the featured image for this particular review (see the image at the top of the header banner), the cinematography is absolutely uninspired.
When you have a film that features so much ocean, there are a multitude of amazing things you could achieve with the shot choices. Unfortunately, none of them have been realised here.
Elsewhere, there is something a little more sinister afoot. Sharks already get a seriously bad reputation and this film does nothing to quash that. With many species now unfortunately endangered, films like The Meg could do more harm than good. It portrays all sharks as merciless killers – proficient and deadly. If it did want to be a serious shark attack flick, it should have relied less on goofy comedy and more on raising awareness for the creatures.
We’ve now had three ‘creature feature’ films thus far into 2018. Starting with Rampage earlier in the year, Jurassic World: Fallen Kingdom in June and now The Meg, and whilst each of them brings something unique to the table, The Meg sinks to the bottom of the seafloor. It’s occasionally fun and could have been smashing fun, but in reality, it’s a bit of a damp squib. The Meg is a shark movie without any bite.
https://moviemetropolis.net/2018/08/11/the-meg-review-jurassic-shark/
Deep Blue Sea was a tasteful homage to its forbearer, but even that was riddled in cliché and was much more of a brain-numbing creature feature than Jaws was. And then came Sharknado and its raft of dreadfully titled sequels. Look back through cinema history and you’ll see that sharks are big business in Hollywood.
Now, as we enter the final stages of 2018, Jason Statham stars in perhaps the most preposterous shark movie yet, yes, even more preposterous than Sharknado 3: Oh Hell No! But sometimes preposterous can be fun. Is that the case here?
A massive creature attacks a deep-sea submersible, leaving it disabled and trapping the crew at the bottom of the Pacific Ocean. With time running out, rescue diver Jonas Taylor (Statham) must save the crew and the ocean itself from an unimaginable threat – a 75-foot-long prehistoric shark known as the Megalodon.
Jon Turteltaub, who directed delicacies like National Treasure and Cool Runnings takes to The Meg like, well a duck to water. It’s filled with tantalising action sequences and Jason Statham spouting marine biology jargon including a scene in which the Hollywood star is shirtless whilst spouting marine biology jargon. What more could you want?
Quite a bit as it happens. Despite a solid opening act that sets up the dark humour of the film nicely, The Meg is a bit of a bore. Populated by bland characters, uninspiring CGI and plot holes so big they’d make the Marianas trench blush. It’s all a bit of a mess to be honest.
The Meg is one of a new breed of Hollywood blockbusters that has been made to pander to the new Chinese audience and while this has worked well for other high-budget movies like Pacific Rim, it doesn’t work quite as well here. Li Bingbing stars as marine biologist Suyin Zhang and whilst she performs well in her native tongue, her English-spoken scenes are stilted and lack any depth of emotion whatsoever.
In fact, outside of Statham, the rest of the cast are complete non-entities. Rainn Wilson provides some comic relief as a financial investor, but it’s all very B-movie and clearly not in the way it was intended. You see, when you know you have a ridiculous premise, the best thing to do is run with it and create the most insanely bizarre film in existence. Unfortunately, The Meg takes itself far too seriously and this makes it feel much longer than its running time would suggest. They could’ve gotten away with calling it ‘Jason Statham Shark Movie’ as that’ pretty much the premise in a nutshell.
It’s occasionally fun and could have been smashing fun, but in reality, it’s a bit of a damp squib
At a cost just shy of $200million, you’d expect to have Jurassic World: Fallen Kingdom levels of special effects. They actually cost around the same to produce. In truth, The Meg can’t hold a candle to its land-based prehistoric cousin. The CGI is passable at best and really dreadful at worst and this is a real shame. When the main selling point of your film is a 75-foot shark, you really need to get it spot on.
Besides a couple of cool shots, one of which is the featured image for this particular review (see the image at the top of the header banner), the cinematography is absolutely uninspired.
When you have a film that features so much ocean, there are a multitude of amazing things you could achieve with the shot choices. Unfortunately, none of them have been realised here.
Elsewhere, there is something a little more sinister afoot. Sharks already get a seriously bad reputation and this film does nothing to quash that. With many species now unfortunately endangered, films like The Meg could do more harm than good. It portrays all sharks as merciless killers – proficient and deadly. If it did want to be a serious shark attack flick, it should have relied less on goofy comedy and more on raising awareness for the creatures.
We’ve now had three ‘creature feature’ films thus far into 2018. Starting with Rampage earlier in the year, Jurassic World: Fallen Kingdom in June and now The Meg, and whilst each of them brings something unique to the table, The Meg sinks to the bottom of the seafloor. It’s occasionally fun and could have been smashing fun, but in reality, it’s a bit of a damp squib. The Meg is a shark movie without any bite.
https://moviemetropolis.net/2018/08/11/the-meg-review-jurassic-shark/
Gareth von Kallenbach (980 KP) rated the PC version of BioShock Infinite in Video Games
Jun 19, 2019
After a few delays the third game in the Bioshock series has arrived from 2K Games and he continues the amazing legacy of the series in grand style. Playing as Booker DeWitt players embark on an epic rescue adventure to the floating city of Columbia in the early 1900s.
Booker is anxious to erase his massive gambling debts and has been told that recovering a girl named Elizabeth from the floating city will clear his accounts. Upon arrival, Booker notes the grand spectacle of the city as well as the Steampunk themes that combine technology, science, and fiction.
Playing from a first person perspective, Booker is able to interact with his environment from looting ammunition, food, health, power ups, money, and other items necessary for survival in a hostile city. Booker can also obtain needed supplies from various mechanical vending machines located throughout the city.
This is a very good thing as despite the beauty of Columbia, it is rife with all manner of dangers as the self-proclaimed savior Comstock has an endless supply of enemies to throw at you to keep you from recovering Elizabeth.
The narration of the story kicks into high gear once you encounter Elizabeth as many of the missions become escort and protect in nature but the back story of the central characters as well as the social strife in Columbia become more and more evident.
An underlying tone of racial tension and labor unrest is threatening the status quo and Booker finds himself squarely in the middle of both factions.
Elizabeth has some amazing abilities of her own such as being able to open tears in time and space which would explain Comstock’s obsession with her. Aside from an arsenal of weapons which includes pistols, shotguns, machine guns, rocket launchers, and various rifles, Booker can gain special powers through the use of vigors that are located throughout the game. While only able to wield to it time, the ability to telekinetic please send enemies flying, blast them with water, fry them to a crisp, and other spectacular feats are absolutely essential to the game as well is highly satisfying. In order to power the special powers, Booker must constantly replenish assault supply which adds a new element to the game strategy.
One of the greatest features of the game was the magnetic melee weapon which also doubles as a magnetic hook. This allows Booker to travel via rail Skyway by taking spectacular leaps and sliding along the rails. The sheer rush of whipping through the city especially during combat situations is a remarkable achievement from both a visual and gameplay perspective.
Graphically the game is fantastic as the amount of detail is simply breathtaking. If one was to nitpick they could state that the character facial animations seem a bit dated but they are definitely in keeping with the previous two games and in my opinion do not detract from the game in any way shape or form.
When death happens in the game, players are able to be resurrected at a nearby point for little bit of their money which allows for a smoother gameplay experience. Some moments the game on normal setting were quite difficult and for gamers who need a break, players can choose to lower or raise the difficulty setting in game.
Unlike the previous games the storyline is more linear and your decisions do not drastically change the outcome of the game unless you are playing the game in the optional 1999 mode where decisions can in deed change the outcome of the game including placing the character in no-win situations.
The voice acting and sound of the game are first rate and I especially enjoyed the nostalgic music and primitive recording and playback devices the time which added a very unique perspective to the game. There is no multiplayer aspect of the game so players who complete the game will have to look forward to the planned DLC content which will be offered in the future.
The immersive factor of the game really captured me and in my opinion sets a new standard for storytelling and player interaction. While enemies tended to be for the most part mindless foes who charged headlong to their doom, this did change as the game went along as some enemies presented some real challenges and displayed some very interesting and clever strategies.
Upon completion of the game, I found myself pausing to reflect on the twist and turns of the storyline as well as look ahead with great anticipation for the next installment of this epic series. Bioshock Infinite is a must own for fans of the series as well as action games and is definitely an early candidate for game of the year awards.
http://sknr.net/2013/04/02/bioshock-infinite/
Booker is anxious to erase his massive gambling debts and has been told that recovering a girl named Elizabeth from the floating city will clear his accounts. Upon arrival, Booker notes the grand spectacle of the city as well as the Steampunk themes that combine technology, science, and fiction.
Playing from a first person perspective, Booker is able to interact with his environment from looting ammunition, food, health, power ups, money, and other items necessary for survival in a hostile city. Booker can also obtain needed supplies from various mechanical vending machines located throughout the city.
This is a very good thing as despite the beauty of Columbia, it is rife with all manner of dangers as the self-proclaimed savior Comstock has an endless supply of enemies to throw at you to keep you from recovering Elizabeth.
The narration of the story kicks into high gear once you encounter Elizabeth as many of the missions become escort and protect in nature but the back story of the central characters as well as the social strife in Columbia become more and more evident.
An underlying tone of racial tension and labor unrest is threatening the status quo and Booker finds himself squarely in the middle of both factions.
Elizabeth has some amazing abilities of her own such as being able to open tears in time and space which would explain Comstock’s obsession with her. Aside from an arsenal of weapons which includes pistols, shotguns, machine guns, rocket launchers, and various rifles, Booker can gain special powers through the use of vigors that are located throughout the game. While only able to wield to it time, the ability to telekinetic please send enemies flying, blast them with water, fry them to a crisp, and other spectacular feats are absolutely essential to the game as well is highly satisfying. In order to power the special powers, Booker must constantly replenish assault supply which adds a new element to the game strategy.
One of the greatest features of the game was the magnetic melee weapon which also doubles as a magnetic hook. This allows Booker to travel via rail Skyway by taking spectacular leaps and sliding along the rails. The sheer rush of whipping through the city especially during combat situations is a remarkable achievement from both a visual and gameplay perspective.
Graphically the game is fantastic as the amount of detail is simply breathtaking. If one was to nitpick they could state that the character facial animations seem a bit dated but they are definitely in keeping with the previous two games and in my opinion do not detract from the game in any way shape or form.
When death happens in the game, players are able to be resurrected at a nearby point for little bit of their money which allows for a smoother gameplay experience. Some moments the game on normal setting were quite difficult and for gamers who need a break, players can choose to lower or raise the difficulty setting in game.
Unlike the previous games the storyline is more linear and your decisions do not drastically change the outcome of the game unless you are playing the game in the optional 1999 mode where decisions can in deed change the outcome of the game including placing the character in no-win situations.
The voice acting and sound of the game are first rate and I especially enjoyed the nostalgic music and primitive recording and playback devices the time which added a very unique perspective to the game. There is no multiplayer aspect of the game so players who complete the game will have to look forward to the planned DLC content which will be offered in the future.
The immersive factor of the game really captured me and in my opinion sets a new standard for storytelling and player interaction. While enemies tended to be for the most part mindless foes who charged headlong to their doom, this did change as the game went along as some enemies presented some real challenges and displayed some very interesting and clever strategies.
Upon completion of the game, I found myself pausing to reflect on the twist and turns of the storyline as well as look ahead with great anticipation for the next installment of this epic series. Bioshock Infinite is a must own for fans of the series as well as action games and is definitely an early candidate for game of the year awards.
http://sknr.net/2013/04/02/bioshock-infinite/
Emma @ The Movies (1786 KP) rated Breakthrough (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
The fact that this film is based on a true story is incredible to think about. I haven't read the book that was written by the boy's mother or read about the actual incident and events online, I'm not sure I want to. I usually like finding out the differences to the actual stories but I wonder if in this instance it might make me change the way I feel about the film.
John is off with his friends having fun, and what's more fun than playing out on a frozen lake? By the time they hear the crack it's too late, the three boys go under. With the emergency services on their way it's a countdown to rescuing them. Two of them have their head above water, but John, knocked unconscious while trying to help his friend out of the water, is sinking. When water rescue appears it may already be too late. They take the search slowly, but John could be anywhere, it's almost certainly too late. Tommy is about to call an end to the search when he hears someone telling him to go back, and there he is.
Rushed to the hospital, the doctors and staff work on trying to bring him back, but as the time elapses there is nothing to do but continue until his family arrive. Joyce, his mother, is devastated and not willing to accept that it's the end... and she prays, asking god to save her son... the monitor beeps to life.
Everywhere I see descriptions of this it says "christian drama". I honestly don't see that the word "christian" needs to be in there. Sure, Joyce prays a fair bit, and their pastor is in it a lot too, but it's still just a drama about something miraculous happening.
By far the best performance for me was Chrissy Metz. Joyce comes across as a very determined woman in everything that she does, and Metz really makes that stand out. From the happiness to the heartbreak, it's all believeable, which sometimes doesn't happen with films that are based on true stories.
I enjoyed Mike Colter as Tommy too. As a non-religious man trying to deal with what happened to him, and what he sees happening to John, the thought process was clear on his face and I liked how he visually interacted with those around him in those moments.
By far the strongest scene for me was the one I mentioned above in the hospital. I think it's always quite challenging to create something that has an impact on the viewer when they already know what the outcome is going to be. In this instance we already know that John doesn't die, we just don't know how the situation is remedied. The hospital staff have left the room and Joyce is with her son, she doesn't want to accept what's before her eyes. We cut between her and the staff outside in the hall in what builds up to an incredible moment. The staff reacting to Joyce as she wails in pain is something that was just stuck in my chest, I could really feel it.
While some are saying that Breakthrough is a christian film, but personally it feels more like a film about community. It's about family, about friends, about everyone around us. It also captures some of the things you have to deal with in these situations. Although fleeting at the end of the film, we see John coming to terms with the fact he survived, his miracle is hard to take for other people and they feel like they need answers, but from where? Him?
Everything about the film felt thoughtful and real, even though some bits felt a little cramped at times. By that I mean they clearly wanted to show the "negativity" and realistic thinking of those around John, he didn't have good odds and everyone would be talking about that. But getting that in felt a little cluttered with everything else going on.
I enjoyed this "christian" film, or as I like to call it "film". I spent a significant amount of time with my sleeves pressed up under my eyes, and when the doctors on screen were telling people to breathe I was doing it to recover. It's not a pushy film, I didn't feel the urge to go and join a congregation after watching it, it's just a wonderful reminder that miracles can happen, and while you wait for them there will be people all around you for support even when you don't expect it.
What you should do
It may not be a film to watch for some, I imagine the content may bring back memories that are difficult, but if you're up to it then it's well worth a watch.
Movie thing you wish you could take home
Just a smidge of Joyce's determination would be good.
John is off with his friends having fun, and what's more fun than playing out on a frozen lake? By the time they hear the crack it's too late, the three boys go under. With the emergency services on their way it's a countdown to rescuing them. Two of them have their head above water, but John, knocked unconscious while trying to help his friend out of the water, is sinking. When water rescue appears it may already be too late. They take the search slowly, but John could be anywhere, it's almost certainly too late. Tommy is about to call an end to the search when he hears someone telling him to go back, and there he is.
Rushed to the hospital, the doctors and staff work on trying to bring him back, but as the time elapses there is nothing to do but continue until his family arrive. Joyce, his mother, is devastated and not willing to accept that it's the end... and she prays, asking god to save her son... the monitor beeps to life.
Everywhere I see descriptions of this it says "christian drama". I honestly don't see that the word "christian" needs to be in there. Sure, Joyce prays a fair bit, and their pastor is in it a lot too, but it's still just a drama about something miraculous happening.
By far the best performance for me was Chrissy Metz. Joyce comes across as a very determined woman in everything that she does, and Metz really makes that stand out. From the happiness to the heartbreak, it's all believeable, which sometimes doesn't happen with films that are based on true stories.
I enjoyed Mike Colter as Tommy too. As a non-religious man trying to deal with what happened to him, and what he sees happening to John, the thought process was clear on his face and I liked how he visually interacted with those around him in those moments.
By far the strongest scene for me was the one I mentioned above in the hospital. I think it's always quite challenging to create something that has an impact on the viewer when they already know what the outcome is going to be. In this instance we already know that John doesn't die, we just don't know how the situation is remedied. The hospital staff have left the room and Joyce is with her son, she doesn't want to accept what's before her eyes. We cut between her and the staff outside in the hall in what builds up to an incredible moment. The staff reacting to Joyce as she wails in pain is something that was just stuck in my chest, I could really feel it.
While some are saying that Breakthrough is a christian film, but personally it feels more like a film about community. It's about family, about friends, about everyone around us. It also captures some of the things you have to deal with in these situations. Although fleeting at the end of the film, we see John coming to terms with the fact he survived, his miracle is hard to take for other people and they feel like they need answers, but from where? Him?
Everything about the film felt thoughtful and real, even though some bits felt a little cramped at times. By that I mean they clearly wanted to show the "negativity" and realistic thinking of those around John, he didn't have good odds and everyone would be talking about that. But getting that in felt a little cluttered with everything else going on.
I enjoyed this "christian" film, or as I like to call it "film". I spent a significant amount of time with my sleeves pressed up under my eyes, and when the doctors on screen were telling people to breathe I was doing it to recover. It's not a pushy film, I didn't feel the urge to go and join a congregation after watching it, it's just a wonderful reminder that miracles can happen, and while you wait for them there will be people all around you for support even when you don't expect it.
What you should do
It may not be a film to watch for some, I imagine the content may bring back memories that are difficult, but if you're up to it then it's well worth a watch.
Movie thing you wish you could take home
Just a smidge of Joyce's determination would be good.