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BankofMarquis (1832 KP) rated Silver Streak (1976) in Movies
Jun 7, 2020
The start of a wonderful comedic partnership
Most people remember Gene Wilder as the frazzled haired wild man in such Mel Brooks classic films as THE PRODUCERS, BLAZING SADDLES and YOUNG FRANKENSTEIN. Others will recall him as the mad genius that held our attention in WILLY WONKA AND THE CHOCOLATE FACTORY, but there was a 3rd phase to Wilder's career - his unlikely partnership with Richard Pryor - that started with 1976's SILVER STREAK.
Set aboard the titular passenger train, SILVER STREAK is part Alfred Hitchcock "wrong man" suspense thriller, part comedy and part action flick with strong performances at the center anchoring the action.
Surprisingly, Wilder brings a sincere quality to his "everyman" hero of this tale. His book editor, George Caldwell, just wants a quiet 2 1/2 day trip on the train from Los Angeles to Chicago. You root for George from the start. Wilder's performance is deftly tailored to this movie, keeping a lid on his more frenetic energy that helps keep his character grounded. He pairs nicely with Jill Clayburgh (remember her from the '70's?) as a women he meets (and falls in love with) along the way. Clayburgh burst into the spotlight with this performance - and the 2 have tremendous chemistry together.
They are joined by a bevy of wonderful character actors - Ray Walston, Richard "Jaws" Kiel, Ned Beatty, Clifton James, Valerie Curtin, Fred Willard and the great Scatman Crothers. All bring life and energy to this film. Patrick McGoohan is perfectly cast as the villain of the piece. His "buttoned-up" bad guy is the perfect balance to the Wilder's character.
But, of course, the person who steals this film is the great Richard Pryor as Grover T. Muldoon, a petty thief, con-man and "street-wise" hood who aids George in defeating the bad guys. Pryor doesn't show up in this movie until about 1/2 way through, but when he does, the energy (and pace) of this film picks up considerably and the roller coaster ride begins. The comedic partnership between Wilder and Pryor is magnificent, they play off each other very well and they will end up pairing together in 3 other films after this.
Director Arthur Hiller (THE AMERICANIZATION OF EMILY) does a strong, professional job of keeping the movie moving, keeping events grounded until a thrilling conclusion that is satisfying, indeed.
A fun action-thriller that is perfect summer fodder.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Set aboard the titular passenger train, SILVER STREAK is part Alfred Hitchcock "wrong man" suspense thriller, part comedy and part action flick with strong performances at the center anchoring the action.
Surprisingly, Wilder brings a sincere quality to his "everyman" hero of this tale. His book editor, George Caldwell, just wants a quiet 2 1/2 day trip on the train from Los Angeles to Chicago. You root for George from the start. Wilder's performance is deftly tailored to this movie, keeping a lid on his more frenetic energy that helps keep his character grounded. He pairs nicely with Jill Clayburgh (remember her from the '70's?) as a women he meets (and falls in love with) along the way. Clayburgh burst into the spotlight with this performance - and the 2 have tremendous chemistry together.
They are joined by a bevy of wonderful character actors - Ray Walston, Richard "Jaws" Kiel, Ned Beatty, Clifton James, Valerie Curtin, Fred Willard and the great Scatman Crothers. All bring life and energy to this film. Patrick McGoohan is perfectly cast as the villain of the piece. His "buttoned-up" bad guy is the perfect balance to the Wilder's character.
But, of course, the person who steals this film is the great Richard Pryor as Grover T. Muldoon, a petty thief, con-man and "street-wise" hood who aids George in defeating the bad guys. Pryor doesn't show up in this movie until about 1/2 way through, but when he does, the energy (and pace) of this film picks up considerably and the roller coaster ride begins. The comedic partnership between Wilder and Pryor is magnificent, they play off each other very well and they will end up pairing together in 3 other films after this.
Director Arthur Hiller (THE AMERICANIZATION OF EMILY) does a strong, professional job of keeping the movie moving, keeping events grounded until a thrilling conclusion that is satisfying, indeed.
A fun action-thriller that is perfect summer fodder.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Matthew Krueger (10051 KP) rated From Dusk Till Dawn (1996) in Movies
Jul 9, 2019
A underrated action horror film
From dusk till dawn- was directed by robert roderguiz and had a great cast.
The plot: the run from a bank robbery that left several police officers dead, Seth Gecko (George Clooney) and his paranoid, loose-cannon brother, Richard (Quentin Tarantino), hightail it to the Mexican border. Kidnapping preacher Jacob Fuller (Harvey Keitel) and his kids, the criminals sneak across the border in the family's RV and hole up in a topless bar. Unfortunately, the bar also happens to be home base for a gang of vampires, and the brothers and their hostages have to fight their way out.
A tv series was made back in 2014 and had 3 seasons.
From dusk till dawn- has horror, action and fantasy all mixed into one film. Overall its very underrated and more people should watch it.
The plot: the run from a bank robbery that left several police officers dead, Seth Gecko (George Clooney) and his paranoid, loose-cannon brother, Richard (Quentin Tarantino), hightail it to the Mexican border. Kidnapping preacher Jacob Fuller (Harvey Keitel) and his kids, the criminals sneak across the border in the family's RV and hole up in a topless bar. Unfortunately, the bar also happens to be home base for a gang of vampires, and the brothers and their hostages have to fight their way out.
A tv series was made back in 2014 and had 3 seasons.
From dusk till dawn- has horror, action and fantasy all mixed into one film. Overall its very underrated and more people should watch it.
Deborah (162 KP) rated The Third Plantagenet: George, Duke of Clarence, Richard III's Brother in Books
Dec 21, 2018
John Ashdown-Hill really has the ability to write clearly and compellingly. This latest offering takes a look at the middle of the brothers of York, George, Duke of Clarence.
Much less well known than his more famous brothers, Edward IV and Richard III, nonetheless, Clarence and his life and death were am important part of the story of this period. His supposed death by drowning in a butt of Malmsey wine is one of those well known 'facts' that might be a mythology all of its own, but Ashdown-Hill provides evidence to suggest that drowning was used as a method of execution in this period and considered kinder than hanging or beheading!
It's not a long book and a good proportion is given over to a study of the Clarence vault at Tewksbury abbey and the remains therein. If you are interested in the period, this is certainly worth a read. I look forward to the forthcoming companion volume, The Dublin King.
Much less well known than his more famous brothers, Edward IV and Richard III, nonetheless, Clarence and his life and death were am important part of the story of this period. His supposed death by drowning in a butt of Malmsey wine is one of those well known 'facts' that might be a mythology all of its own, but Ashdown-Hill provides evidence to suggest that drowning was used as a method of execution in this period and considered kinder than hanging or beheading!
It's not a long book and a good proportion is given over to a study of the Clarence vault at Tewksbury abbey and the remains therein. If you are interested in the period, this is certainly worth a read. I look forward to the forthcoming companion volume, The Dublin King.
Matthew Krueger (10051 KP) rated My Son, the Vampire (1952) in Movies
Oct 21, 2020
Mother Riley Meets Bela Lugosi
My Son, the Vampire as known as Mother Riley Meets The Vampire as known as Vampire Over London is a good movie.
The plot: Irish washerwoman Old Mother Riley (Arthur Lucan) foils a would-be vampire (Bela Lugosi) and his misguided robot.
This was the final film of the Old Mother Riley film series, and did not feature Lucan's ex-wife and business partner Kitty McShane, whom he had divorced in 1951.
In 1963, a recut American version called My Son, the Vampire was released, featuring an introductory segment with a song by American comedian Allan Sherman.
On the suggestion of producer Richard Gordon, Bela Lugosi had travelled to the UK to appear in a stage play of Dracula, which failed. He needed money to return to the US. Gordon persuaded fellow producer George Minter to use Lugosi in a movie in London.
Lugosi was paid $5,000 for his role. The plot was taken from Abbott and Costello Meet Frankenstein.
Its a funny horror comedy.
The plot: Irish washerwoman Old Mother Riley (Arthur Lucan) foils a would-be vampire (Bela Lugosi) and his misguided robot.
This was the final film of the Old Mother Riley film series, and did not feature Lucan's ex-wife and business partner Kitty McShane, whom he had divorced in 1951.
In 1963, a recut American version called My Son, the Vampire was released, featuring an introductory segment with a song by American comedian Allan Sherman.
On the suggestion of producer Richard Gordon, Bela Lugosi had travelled to the UK to appear in a stage play of Dracula, which failed. He needed money to return to the US. Gordon persuaded fellow producer George Minter to use Lugosi in a movie in London.
Lugosi was paid $5,000 for his role. The plot was taken from Abbott and Costello Meet Frankenstein.
Its a funny horror comedy.
Erika (17788 KP) rated Fantastic Beasts: Crimes of Grindelwald (2018) in Movies
Nov 16, 2018 (Updated Nov 19, 2018)
Newt (2 more)
The beasts
Jude Law as Dumbledore
Johnny Depp (2 more)
Johnny Depp
and Johnny Depp
*After reading the screenplay, I'm knocking this rating down.
I am completely torn on this one, I liked some parts, but hated others. I also really can't stand Johnny Depp, and I rolled my eyes to myself every time he was on screen...
In my book, Jude Law was playing Richard Harris' Dumbledore, not... Michael Gambon (Don't even get me started on Gambon: 'Did you put your name in the goblet of fire, Harry?' Dumbledore asked CALMLY). So, it was a good way to go.
I did not like the way they went with some characters, namely one, who was rumored to go to Grindelwald's camp. Making a likeable character slightly deranged was irritating. There was a name drop at Hogwarts that had to have been a relative, unless the original character became an adult professor before she was technically born...
However, the possible recons that occurred didn't mess with canon as badly as that terrible Cursed Child mess.
It was largely predictable, and even the end, it was all foreshadowed, and not in a good way. The best bits were of Newt with the beasts... I liked Eddie Redmayne, as always, but can we please stop calling these movies Fantastic Beasts? 6 for him and the Niffler alone.
I wanted to largely stay away from a comparison, but I feel like Rowling is going the George Lucas route. And, that's not a compliment.
I am completely torn on this one, I liked some parts, but hated others. I also really can't stand Johnny Depp, and I rolled my eyes to myself every time he was on screen...
In my book, Jude Law was playing Richard Harris' Dumbledore, not... Michael Gambon (Don't even get me started on Gambon: 'Did you put your name in the goblet of fire, Harry?' Dumbledore asked CALMLY). So, it was a good way to go.
I did not like the way they went with some characters, namely one, who was rumored to go to Grindelwald's camp. Making a likeable character slightly deranged was irritating. There was a name drop at Hogwarts that had to have been a relative, unless the original character became an adult professor before she was technically born...
However, the possible recons that occurred didn't mess with canon as badly as that terrible Cursed Child mess.
It was largely predictable, and even the end, it was all foreshadowed, and not in a good way. The best bits were of Newt with the beasts... I liked Eddie Redmayne, as always, but can we please stop calling these movies Fantastic Beasts? 6 for him and the Niffler alone.
I wanted to largely stay away from a comparison, but I feel like Rowling is going the George Lucas route. And, that's not a compliment.
Deborah (162 KP) rated Richard III: The King in the Car Park in Books
Dec 21, 2018
I quote from the final page of this publication: "The writer of this book will face similar virulent criticism. It will be savaged in the book reviews on Amazon, mainly by non-readers, to take its ratings and thus popularity down." In fact, this is the last, but by no means the only rant by the author who appears to have a definite chip on his shoulder for some reason. Since he subjects Thomas Penn's work, 'The Winter King' to such virulent criticism, one can only suspect that he was turned down by Penn's publisher. One can hardly be surprised. I have read this book, despite wanting on a number of occasions to give up in disgust. It is full of errors of spelling (e.g. youngest for younger, now instead of not), so has evidently not had either a proof reader or an editor. There are also many factual errors with names and titles becoming hopelessly confused. On one page we're told that Sir James Tyrell was hanged and a couple of pages later we're told that Henry Tudor was so kind as to merely condescend to cut his head off!
I will admit that with pro-Ricardian sympathies I was probably never going to like this book, but it is a bit of a mess and feels like another case of jumping on the bandwagon. There is no index, no footnotes/endnotes and only a partial list of sources, which is enough to raise questions about academic rigour. If you are going to publish opinions, particular in The Great Debate, these really should be backed up by factual evidence. I think I am most irked by the hypocrisy of Mr Breverton telling us at one point that he is going to take a fresh impartial look at the subject and then immediately showing us exactly which colour he prefers his roses.
His list, near the back of the volume, of all the 'crimes' he thinks Richard III was guilty of really does teeter on the brink of blindness and absurdity. Apparently he is guilty in the case of the Earl of Warwick, son of Richard's older brother, George of Clarence, but whose claim to the throne was barred by his father's attainder (always reversible, but Warwick was then only a child of about 8 years). I'm pretty sure this Warwick was sent to Sheriff Hutton Castle to be brought up with other young persons, as befitted his status by Richard. Of course, as soon as Henry Tudor usurped the throne, this boy was locked up in the Tower only to be executed later on a trumped up charge. I think I know who the guilty party is in that case.
That is my frank opinion on this volume; I will now expect said author to savage me as he has everyone else on Amazon who has pointed out the self-evident shortcomings in this work.
I will admit that with pro-Ricardian sympathies I was probably never going to like this book, but it is a bit of a mess and feels like another case of jumping on the bandwagon. There is no index, no footnotes/endnotes and only a partial list of sources, which is enough to raise questions about academic rigour. If you are going to publish opinions, particular in The Great Debate, these really should be backed up by factual evidence. I think I am most irked by the hypocrisy of Mr Breverton telling us at one point that he is going to take a fresh impartial look at the subject and then immediately showing us exactly which colour he prefers his roses.
His list, near the back of the volume, of all the 'crimes' he thinks Richard III was guilty of really does teeter on the brink of blindness and absurdity. Apparently he is guilty in the case of the Earl of Warwick, son of Richard's older brother, George of Clarence, but whose claim to the throne was barred by his father's attainder (always reversible, but Warwick was then only a child of about 8 years). I'm pretty sure this Warwick was sent to Sheriff Hutton Castle to be brought up with other young persons, as befitted his status by Richard. Of course, as soon as Henry Tudor usurped the throne, this boy was locked up in the Tower only to be executed later on a trumped up charge. I think I know who the guilty party is in that case.
That is my frank opinion on this volume; I will now expect said author to savage me as he has everyone else on Amazon who has pointed out the self-evident shortcomings in this work.
Ivana A. | Diary of Difference (1171 KP) rated Wonder Woman: Her Greatest Battles in Books
Aug 21, 2018
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<img src="https://gipostcards.files.wordpress.com/2018/08/book-review-1.png"/>;
This is my first graphic novel, and I did enjoy the art in it! This book contains the greatest battles of Wonder Woman. It is a compilation of seven comic book scenes, all sharing a different battle of Wonder Woman, and a different kind of art.. But even though I enjoyed the art, as a first one, this didn’t make me happy.
The stories are put in this compilation chronologically by when they were made, starting from a scene that was made in 1987, until the last one, which was made in 2013. I will give a brief comment on all of them - in order:
<b>‘’Power Play’’ from Wonder Woman #6 (1987)
<i>Plot & Pencils: George Perez, Script: Len Wein, Inks: Bruce Patterson, Colors: Tatjana Wood, Letters: John Costanza, Cover: George Perez</i></b>
The first story is a scene where Diana is fighting the god of war - Ares. As a first one, it is not the best descriptive piece of information - so for a person that haven’t heard about Wonder Woman before, this one won’t be of any use. I also didn’t quite enjoy the art in this one.
<b><i>‘’And for the first time in his immortal existence, the war-god weeps… for, without those alive to worship him, Ares’ power swiftly wanes…’’</i></b>
<b>‘’In The Forest Of The Night’’ from Wonder Woman #119 (1997)
<i>Story & Art: John Byrne; Colors: Patricia Mulvihill; Cover: Jose Luis Garcia-Lopez</i></b>
In this scene, Diana is on a mission to save officer Michael P. Schorr of the G.C.P.D. from the cheetah that used to be Barbara Minerva. Diana manages to convince Barbara to win the battle with herself and become human again. Even though I didn’t quite enjoy the art - I did enjoy the story itself. It was a great lesson of fighting for who you are within, and winning battles with yourself and not surrendering to anything that might be in your way. We also get to have a little sneak-peak of how Wonder Woman started existing in the first place.
<b><i>‘’Yes, Mike, it is not widely known, but I was not born as mortals are, my mother sculpted a baby from the clay of Themyscira and the Gods themselves breathed life into that clay. ‘’</i></b>
<img src="https://gipostcards.files.wordpress.com/2018/08/book-cover-4.png"/>;
<b>‘’Stoned: Conclusion’’ from Wonder Woman #210 (2005)
<i>Script: Greg Rucka; Pencils: Drew Johnson; Inks: Ray Snyder; Colors: Richard & Tanya Horie; Letters: Todd Klein; Cover: J.G. Jones</i></b>
This one is a gladiator battle between Wonder Woman and Medusa. I really enjoyed this one, the art was amazing and we even get a few scenes with Circe-witch on it. I love how Wonder Woman is presented to be smart and the sacrifice that she made was very brave. Such a powerful story! Amazing!
<b>‘’Sacrifice: Part four’’ from Wonder Woman #219 (2005)
<i>Scripts: Greg Rucka; Pencils:Rags Morales, David Lopez, Tom Derenick, Georges Jeanty & Karl Kerschl; Inks: Mark Propst, BIT, Dexter Vines, Bob Petrecca & Nelson; Colors: Richard & Tanya Horie; Letters: Todd Klein; Cover: J.G. Jones</i></b>
Superman has been brainwashed and wants to kill Diana. Not much happens apart from Wonder Woman and Superman fighting. I didn’t like this one, only because of one quote that says:
<b><i>‘’You’ll forgive me for saying it, princess, but you look good on your knees…’’</i></b>
<b>‘’A Murder Of Crows: Part Two - Throwdown’’ from Wonder Woman #41 (2010)
<i>Script: Gail Simone; Pencils: Chris Batista & Fernando Dagnino; Inks: Doug Hazlewood & Raul Fernandez; Colors: Brad Anderson; Letters: Travis Lanham; Cover: Aaron Lopresti</i></b>
Even though the beginning features Achilles and Patroclus, after a page or two we don’t see them anymore, and I am standing like… what’s the point in mentioning them in the first place then? This piece of art contains a battle between Power Girl and Wonder Woman, and how Power Girl can never be like Wonder Woman, unless, of course, she has no other choice.
I liked this one, maybe the most, even though the art was just average.
<b>‘’Justice League: Part Three’’ from Justice League #3 (2011)
<i>Script: Geoff Johns; Pencils: Jim Lee; Inks: Scott Williams; Colors: Alex Sinclair, HI-FI & Gabe Ettaeb; Letters: Pat Brosseau; Cover: Jim Lee, Scott Williams & Alex Sinclair</i></b>
This piece of art was different than anything else in this book. We see a lot of famous heroes fight, like Superman, Batman, Green Lantern, Aquaman, and of course, Wonder Woman. The art is really colourful, which I enjoyed, but the story was confusing. See, it started from the middle of a comic book, and then ended unfinished. It only covered the part where Wonder Woman appears, but it confused me and I didn’t enjoy the story as much. Again, I didn’t like the way how they express themselves to a woman. They see Wonder Woman and they call dibs on her. Really?
<b>‘’Goddown’’ from Wonder Woman #23 (2013)
<i>Script: Brian Azzarello; Art: Cliff Chiang; Colors: Matthew Wilson; Letters: Jared K. Fletcher; Cover: Cliff Chiang </i></b>
A very confusing chapter, and I didn’t enjoy it at all. It was about Hera and her children, and Wonder Woman protecting them. Even though this is the newest made, it didn’t seem like it, and the art seemed old-style.
Overall, I didn’t enjoy it as much, and it wouldn’t be something I’d choose in the future. I’d rather go with a proper beginning-to-end story rather than a compilation next time.
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<img src="https://gipostcards.files.wordpress.com/2018/08/book-review-1.png"/>;
This is my first graphic novel, and I did enjoy the art in it! This book contains the greatest battles of Wonder Woman. It is a compilation of seven comic book scenes, all sharing a different battle of Wonder Woman, and a different kind of art.. But even though I enjoyed the art, as a first one, this didn’t make me happy.
The stories are put in this compilation chronologically by when they were made, starting from a scene that was made in 1987, until the last one, which was made in 2013. I will give a brief comment on all of them - in order:
<b>‘’Power Play’’ from Wonder Woman #6 (1987)
<i>Plot & Pencils: George Perez, Script: Len Wein, Inks: Bruce Patterson, Colors: Tatjana Wood, Letters: John Costanza, Cover: George Perez</i></b>
The first story is a scene where Diana is fighting the god of war - Ares. As a first one, it is not the best descriptive piece of information - so for a person that haven’t heard about Wonder Woman before, this one won’t be of any use. I also didn’t quite enjoy the art in this one.
<b><i>‘’And for the first time in his immortal existence, the war-god weeps… for, without those alive to worship him, Ares’ power swiftly wanes…’’</i></b>
<b>‘’In The Forest Of The Night’’ from Wonder Woman #119 (1997)
<i>Story & Art: John Byrne; Colors: Patricia Mulvihill; Cover: Jose Luis Garcia-Lopez</i></b>
In this scene, Diana is on a mission to save officer Michael P. Schorr of the G.C.P.D. from the cheetah that used to be Barbara Minerva. Diana manages to convince Barbara to win the battle with herself and become human again. Even though I didn’t quite enjoy the art - I did enjoy the story itself. It was a great lesson of fighting for who you are within, and winning battles with yourself and not surrendering to anything that might be in your way. We also get to have a little sneak-peak of how Wonder Woman started existing in the first place.
<b><i>‘’Yes, Mike, it is not widely known, but I was not born as mortals are, my mother sculpted a baby from the clay of Themyscira and the Gods themselves breathed life into that clay. ‘’</i></b>
<img src="https://gipostcards.files.wordpress.com/2018/08/book-cover-4.png"/>;
<b>‘’Stoned: Conclusion’’ from Wonder Woman #210 (2005)
<i>Script: Greg Rucka; Pencils: Drew Johnson; Inks: Ray Snyder; Colors: Richard & Tanya Horie; Letters: Todd Klein; Cover: J.G. Jones</i></b>
This one is a gladiator battle between Wonder Woman and Medusa. I really enjoyed this one, the art was amazing and we even get a few scenes with Circe-witch on it. I love how Wonder Woman is presented to be smart and the sacrifice that she made was very brave. Such a powerful story! Amazing!
<b>‘’Sacrifice: Part four’’ from Wonder Woman #219 (2005)
<i>Scripts: Greg Rucka; Pencils:Rags Morales, David Lopez, Tom Derenick, Georges Jeanty & Karl Kerschl; Inks: Mark Propst, BIT, Dexter Vines, Bob Petrecca & Nelson; Colors: Richard & Tanya Horie; Letters: Todd Klein; Cover: J.G. Jones</i></b>
Superman has been brainwashed and wants to kill Diana. Not much happens apart from Wonder Woman and Superman fighting. I didn’t like this one, only because of one quote that says:
<b><i>‘’You’ll forgive me for saying it, princess, but you look good on your knees…’’</i></b>
<b>‘’A Murder Of Crows: Part Two - Throwdown’’ from Wonder Woman #41 (2010)
<i>Script: Gail Simone; Pencils: Chris Batista & Fernando Dagnino; Inks: Doug Hazlewood & Raul Fernandez; Colors: Brad Anderson; Letters: Travis Lanham; Cover: Aaron Lopresti</i></b>
Even though the beginning features Achilles and Patroclus, after a page or two we don’t see them anymore, and I am standing like… what’s the point in mentioning them in the first place then? This piece of art contains a battle between Power Girl and Wonder Woman, and how Power Girl can never be like Wonder Woman, unless, of course, she has no other choice.
I liked this one, maybe the most, even though the art was just average.
<b>‘’Justice League: Part Three’’ from Justice League #3 (2011)
<i>Script: Geoff Johns; Pencils: Jim Lee; Inks: Scott Williams; Colors: Alex Sinclair, HI-FI & Gabe Ettaeb; Letters: Pat Brosseau; Cover: Jim Lee, Scott Williams & Alex Sinclair</i></b>
This piece of art was different than anything else in this book. We see a lot of famous heroes fight, like Superman, Batman, Green Lantern, Aquaman, and of course, Wonder Woman. The art is really colourful, which I enjoyed, but the story was confusing. See, it started from the middle of a comic book, and then ended unfinished. It only covered the part where Wonder Woman appears, but it confused me and I didn’t enjoy the story as much. Again, I didn’t like the way how they express themselves to a woman. They see Wonder Woman and they call dibs on her. Really?
<b>‘’Goddown’’ from Wonder Woman #23 (2013)
<i>Script: Brian Azzarello; Art: Cliff Chiang; Colors: Matthew Wilson; Letters: Jared K. Fletcher; Cover: Cliff Chiang </i></b>
A very confusing chapter, and I didn’t enjoy it at all. It was about Hera and her children, and Wonder Woman protecting them. Even though this is the newest made, it didn’t seem like it, and the art seemed old-style.
Overall, I didn’t enjoy it as much, and it wouldn’t be something I’d choose in the future. I’d rather go with a proper beginning-to-end story rather than a compilation next time.
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BankofMarquis (1832 KP) rated Paths of Glory (1957) in Movies
Feb 18, 2024
Early Kubrick Masterpiece
Dore Schary, then head of production of MGM, like Stanley Kubrick’s first film, THE KILLING (1956) so he hired Kubrick to develop film stories from the studios pile of scripts and purchased novels. Finding nothing the he liked, Kubrick remembered reading Humprhey Cobb’s anti-war novel PATHS OF GLORY and suggested that. Schary (like every other studio exec in Hollywood at the time) turned down the opportunity to make this bleak anti-war film.
When Schary was fired by MGM, Kubrick went to Kirk Douglas (who liked THE KILLING as well and was anxious to work with Kubrick). Using his clout as one of the Major Stars of Hollywood at the time, Douglas got United Artists to agree to make the picture.
Starring Douglas, PATHS OF GLORY tells the WWI tale of a group of soldiers who mutiny when asked to take on a suicide mission to take the impregnable “ANTHILL”.
In this film, Kubrick starts to come into his own as a unique and visionary filmmaker who would insist on take after take until he got the exact shot he was looking for.
The highlight of the film is the 5 minute tracking shot of the troops attacking the Anthill, a tracking shot that films such as SAVING PRIVATE RYAN and 1917 owe a debt to. It is a masterclass of filmmaking from Kubrick.
As for Douglas – who was also used to having complete control of his films – PATHS OF GLORY was a battle of wills between Kubrick and Douglas with each man coming out on top (at times)…to the betterment of the film.
On the acting front, Douglas has never been better as the Commander of the unit that has the mutiny and who decides to defend the soldiers who are on trial for mutiny and cowardice and who quickly realizes that the trial is a sham and that there is no way for him these soldiers to get a fair trial.
Adolph Menjou (the 1937 version of A STAR IS BORN) and George Macready (GILDA) are appropriately blustery and out-of-touch as the Senior Officers who give (and then defend) their impossible orders. Richard Anderson (Oscar in the SIX MILLION DOLLAR MAN) is slimey and slippery as the prosecuting attorney (who knows that the outcome of the trial is a done-deal) while Ralph Meeker (THE DIRTY DOZEN), Joe Turkel (the bartender in THE SHINING) and Timothy Carey (who famously clashed with Kubrick during filming in a calculated attempt to get some publicity for himself and was subsequently fired from the film) are the unfortunate 3 who are put on trial as representatives of their troops while the outstanding performance in this film is fomer child actor Wayne Morris (KID GALAHAD) as drunken Lt. Roget.
Even though this film is about ½ war battle film and ½ a court-room drama, it is the visuals of the folly of war that will stick with the audience long after it is over…and stick with it it does as this film was selected for preservation in the United States Film Registry in 1992 and is still listed in IMDB’s TOP 100 Rated films.
Letter Grade A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
When Schary was fired by MGM, Kubrick went to Kirk Douglas (who liked THE KILLING as well and was anxious to work with Kubrick). Using his clout as one of the Major Stars of Hollywood at the time, Douglas got United Artists to agree to make the picture.
Starring Douglas, PATHS OF GLORY tells the WWI tale of a group of soldiers who mutiny when asked to take on a suicide mission to take the impregnable “ANTHILL”.
In this film, Kubrick starts to come into his own as a unique and visionary filmmaker who would insist on take after take until he got the exact shot he was looking for.
The highlight of the film is the 5 minute tracking shot of the troops attacking the Anthill, a tracking shot that films such as SAVING PRIVATE RYAN and 1917 owe a debt to. It is a masterclass of filmmaking from Kubrick.
As for Douglas – who was also used to having complete control of his films – PATHS OF GLORY was a battle of wills between Kubrick and Douglas with each man coming out on top (at times)…to the betterment of the film.
On the acting front, Douglas has never been better as the Commander of the unit that has the mutiny and who decides to defend the soldiers who are on trial for mutiny and cowardice and who quickly realizes that the trial is a sham and that there is no way for him these soldiers to get a fair trial.
Adolph Menjou (the 1937 version of A STAR IS BORN) and George Macready (GILDA) are appropriately blustery and out-of-touch as the Senior Officers who give (and then defend) their impossible orders. Richard Anderson (Oscar in the SIX MILLION DOLLAR MAN) is slimey and slippery as the prosecuting attorney (who knows that the outcome of the trial is a done-deal) while Ralph Meeker (THE DIRTY DOZEN), Joe Turkel (the bartender in THE SHINING) and Timothy Carey (who famously clashed with Kubrick during filming in a calculated attempt to get some publicity for himself and was subsequently fired from the film) are the unfortunate 3 who are put on trial as representatives of their troops while the outstanding performance in this film is fomer child actor Wayne Morris (KID GALAHAD) as drunken Lt. Roget.
Even though this film is about ½ war battle film and ½ a court-room drama, it is the visuals of the folly of war that will stick with the audience long after it is over…and stick with it it does as this film was selected for preservation in the United States Film Registry in 1992 and is still listed in IMDB’s TOP 100 Rated films.
Letter Grade A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated 1917 (2020) in Movies
Jan 12, 2020
Cinematography (1 more)
Visceral and enormously tense movie experience
Visceral, brilliant and a far from relaxing evening at the movies.
It's already won Best Film at the Golden Globes, and seems set for Oscar glory too. Is Sam Mendes's WW1 epic any good?
"The Man is the Mission" - The similarities with the storyline of Spielberg's "Saving Private Ryan" are evident. Lance Corporal Blake (Dean-Charles Chapman) has a brother serving in another battalion of 1,600 men under the command of Colonel Mackenzie (Benedict Cumberbatch). The problem is that they are walking into a trap and are about to be slaughtered when they go over the top at dawn. General Erinmore (Colin Firth) picks Blake and his mate Lance Corporal Will Schofield (George MacKay) to run a dangerous mission to cross no-mans land, break through the German lines and get the message to Mackenzie to call the attack off.
Famously, the movie uses the "Rope" / "Birdman" technique of appearing to film the action as a single continuous take. This adds enormously to the tension as the duo proceed into danger. Aside from a chance meeting with a French foster mother (Claire Duburcq), the tension is maintained at 110% for the film's duration. Which makes for an exhausting watch! Congratulations by the way to Ms Duburcq for bagging the one female role in the whole movie! This is the anti-dote to the female-heavy movies of 2019!
This is a movie you MUST go to see in the cinema. A star of the show is Roger Deakins' cinematography which is just glorious to look at. The hell-holes (literally) of no-mans land are one thing, but then we get the sweeping landscapes of the green french countryside (actually Wiltshire, just a few miles from where I live!). But the really jaw-dropping cinematography for me came in a flare-lit ruined French town. The effect of a raging fire in the distance and the constantly shifting shadows of the ruins is truly spectacular.
All of this is helped by a great score by Thomas Newman, particularly at this moment in the film. The music suits the action perfectly, which is all you can ask for from a score.
I first noticed George MacKay in one of the lead roles in the Proclaimers musical "Sunshine on Leith" and then again in "Pride": both relatively low-key British films. Here he is catapulted onto the global blockbuster stage, and has nowhere to hide being on-screen literally for the whole running time (and he is running!). He doesn't disappoint: the performance is a stellar one and he holds the drama together.
He's got good support though: small but important supporting roles come from not only Firth and Cumberbatch but also Daniel ("Line of Duty") Mays; Andrew ("Kneel!") Scott; Adrian ("Killing Eve") Scarborough and Richard Madden. But my favourite was a quietly strong (no pun intended) from Mark Strong as a friendly captain with good advice for our hero.
Is the single-shot idea a gimmick? Perhaps. But it is extremely effective at maintaining the momentum. Perhaps to a degree it is a bit of a distraction, since I was constantly looking for the cuts (and very clever they are too). But it is undeniably a marvelous piece of film-making. The choreography involved with getting all of those actors and extras moving in unison for the length of some of those takes would make even Busby Berkeley sweat!
There are also some truly extraordinary action shots: a barn scene (and its dramatic aftermath) is one of the most incredible bits of film-making I've seen not just this year (that's not saying much!) but also last year.
The movie is not for the faint-hearted, with some truly gruesome scenes that stick in the mind afterwards. The illustrious Mrs Movie Man spent most of the movie with her hands over her eyes! But in general, this feels authentic. My own grandfather spent 3 days and nights lying wounded in the French mud, before being rescued... by the Germans. War is hell, and the film reflects that.
Director Sam Mendes - also a Golden Globe winner - only goes a bit Hollywood at one point: a musical interlude where an exhausted Schofield creeps into camp (what? no guards?) and listens to a wistful acappella. The realism felt like it went from 10/10 to 7/10.
This is a top-class piece of movie-making and deserves all its award success. I went in with a bit of an "Oscar-bait" attitude; the one-take gimmick peaking my interest but also stoking my cynicism. Was this to be just a technically fabulous movie that would win the awards but not really entertain? But my cynicism was unfounded. It's a gripping watch and a truly memorable movie.
See it. See it at the cinema. And see it at a cinema with as big a screen and with as great a sound system as possible!
(For the full graphical review, please check out the review on One Mann's Movies at https://bob-the-movie-man.com/2020/01/12/one-manns-movies-film-review-1917-2019/ )
"The Man is the Mission" - The similarities with the storyline of Spielberg's "Saving Private Ryan" are evident. Lance Corporal Blake (Dean-Charles Chapman) has a brother serving in another battalion of 1,600 men under the command of Colonel Mackenzie (Benedict Cumberbatch). The problem is that they are walking into a trap and are about to be slaughtered when they go over the top at dawn. General Erinmore (Colin Firth) picks Blake and his mate Lance Corporal Will Schofield (George MacKay) to run a dangerous mission to cross no-mans land, break through the German lines and get the message to Mackenzie to call the attack off.
Famously, the movie uses the "Rope" / "Birdman" technique of appearing to film the action as a single continuous take. This adds enormously to the tension as the duo proceed into danger. Aside from a chance meeting with a French foster mother (Claire Duburcq), the tension is maintained at 110% for the film's duration. Which makes for an exhausting watch! Congratulations by the way to Ms Duburcq for bagging the one female role in the whole movie! This is the anti-dote to the female-heavy movies of 2019!
This is a movie you MUST go to see in the cinema. A star of the show is Roger Deakins' cinematography which is just glorious to look at. The hell-holes (literally) of no-mans land are one thing, but then we get the sweeping landscapes of the green french countryside (actually Wiltshire, just a few miles from where I live!). But the really jaw-dropping cinematography for me came in a flare-lit ruined French town. The effect of a raging fire in the distance and the constantly shifting shadows of the ruins is truly spectacular.
All of this is helped by a great score by Thomas Newman, particularly at this moment in the film. The music suits the action perfectly, which is all you can ask for from a score.
I first noticed George MacKay in one of the lead roles in the Proclaimers musical "Sunshine on Leith" and then again in "Pride": both relatively low-key British films. Here he is catapulted onto the global blockbuster stage, and has nowhere to hide being on-screen literally for the whole running time (and he is running!). He doesn't disappoint: the performance is a stellar one and he holds the drama together.
He's got good support though: small but important supporting roles come from not only Firth and Cumberbatch but also Daniel ("Line of Duty") Mays; Andrew ("Kneel!") Scott; Adrian ("Killing Eve") Scarborough and Richard Madden. But my favourite was a quietly strong (no pun intended) from Mark Strong as a friendly captain with good advice for our hero.
Is the single-shot idea a gimmick? Perhaps. But it is extremely effective at maintaining the momentum. Perhaps to a degree it is a bit of a distraction, since I was constantly looking for the cuts (and very clever they are too). But it is undeniably a marvelous piece of film-making. The choreography involved with getting all of those actors and extras moving in unison for the length of some of those takes would make even Busby Berkeley sweat!
There are also some truly extraordinary action shots: a barn scene (and its dramatic aftermath) is one of the most incredible bits of film-making I've seen not just this year (that's not saying much!) but also last year.
The movie is not for the faint-hearted, with some truly gruesome scenes that stick in the mind afterwards. The illustrious Mrs Movie Man spent most of the movie with her hands over her eyes! But in general, this feels authentic. My own grandfather spent 3 days and nights lying wounded in the French mud, before being rescued... by the Germans. War is hell, and the film reflects that.
Director Sam Mendes - also a Golden Globe winner - only goes a bit Hollywood at one point: a musical interlude where an exhausted Schofield creeps into camp (what? no guards?) and listens to a wistful acappella. The realism felt like it went from 10/10 to 7/10.
This is a top-class piece of movie-making and deserves all its award success. I went in with a bit of an "Oscar-bait" attitude; the one-take gimmick peaking my interest but also stoking my cynicism. Was this to be just a technically fabulous movie that would win the awards but not really entertain? But my cynicism was unfounded. It's a gripping watch and a truly memorable movie.
See it. See it at the cinema. And see it at a cinema with as big a screen and with as great a sound system as possible!
(For the full graphical review, please check out the review on One Mann's Movies at https://bob-the-movie-man.com/2020/01/12/one-manns-movies-film-review-1917-2019/ )
